Chuck Bowen

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Slant Magazine
For 830 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Basket Case
Lowest review score: 0 The Eyes of My Mother
Score distribution:
  1. Positive: 531 out of 830
  2. Mixed: 150 out of 830
  3. Negative: 149 out of 830
830 movie reviews
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    • 74 Metascore
    • 75 Chuck Bowen
    Far From Men
    The film often suggests a less defiant cover of The Defiant Ones, yet it's a must-see for Viggo Mortensen's characteristically wonderful performance.
    • tbd Metascore
    • 75 Chuck Bowen
    The Carnivores
    The characters don’t exist solely to affirm the film’s various themes, and as a result, their humanity gets under your skin.
    • 67 Metascore
    • 75 Chuck Bowen
    The King of Staten Island
    Throughout, Judd Apatow dramatizes the ideal of community with an almost Eastwoodian sense of rapture.
    • 79 Metascore
    • 75 Chuck Bowen
    Contemporary Color
    The Rosses share David Byrne’s interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity.
    • 63 Metascore
    • 75 Chuck Bowen
    Player Hating: A Love Story
    One of the more intimate and revealing looks at American projects ever made; it's assured and empathetic without indulging in fashionable white guilt.
    • 56 Metascore
    • 75 Chuck Bowen
    Manglehorn
    David Gordon Green stages even fleeting tonal palate cleansers with a self-consciousness that parallels Al Pacino's acting.
    • 73 Metascore
    • 75 Chuck Bowen
    Fair Play
    Chloe Domont has conjoined a familiar fantasy of the powerful hedge fund magnate with brutally familiar quotidian details of a relationship that’s about to undergo a profound stress test.
    • 75 Metascore
    • 75 Chuck Bowen
    Leaving Home, Coming Home: A Portrait of Robert Frank
    Beautiful loneliness, as the film suggestively reveals, is a texture that Frank knows all too well.
    • 78 Metascore
    • 75 Chuck Bowen
    birth/rebirth
    Birth/Rebirth serves as a perverse correction, recalibrating decades of dilution to reemphasize the moral weight and emotional anguish at the heart of Shelley’s novel.
    • 62 Metascore
    • 75 Chuck Bowen
    Bad Milo!
    It's fair to say that a filmmaker is thinking outside of the box when he or she stages a scene in which an ambulatory hemorrhoid tears a guy's cock off with its teeth and swallows it.
    • tbd Metascore
    • 75 Chuck Bowen
    Picture of His Life
    Amos Nachoum has a vulnerability that he manages to locate in animals without diminishing their capacity for violence.
    • 37 Metascore
    • 75 Chuck Bowen
    An Eye for Beauty
    Denys Arcand fashions a commandingly leisurely pace that allows us to follow these people who walk a tightrope separating ecstasy from misery.
    • 81 Metascore
    • 75 Chuck Bowen
    In Fabric
    Strickland’s film is another fetish object that rues the perils of fetishism.
    • 80 Metascore
    • 75 Chuck Bowen
    We Come as Friends
    It grows increasingly hopeless as it contrasts the alien paradise of the opening with the wastelands that resemble corporate dump sites.
    • 74 Metascore
    • 75 Chuck Bowen
    Mandibles
    The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
    • 77 Metascore
    • 75 Chuck Bowen
    They'll Love Me When I'm Dead
    Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it.
    • 71 Metascore
    • 75 Chuck Bowen
    Sweaty Betty
    Sweaty Betty is a reminder that poetry comes in all shapes and sizes, and that art ultimately dictates its own terms.
    • 73 Metascore
    • 75 Chuck Bowen
    Spaceship Earth
    The film offers a refuge of idealism and intellectuality in an age that’s actively hostile to both of those qualities.
    • 66 Metascore
    • 75 Chuck Bowen
    The Border
    The Border is marvelously detailed. The script, by Deric Washburn, Walon Green, David Freeman, is peppered with lively obscenities and slights that communicate the debauched cynicism of this world.
    • 68 Metascore
    • 75 Chuck Bowen
    Hondros
    Chris Hondros sought to reconcile peerless beauty with unfathomable atrocity, and Greg Campbell’s film follows suit.
    • 81 Metascore
    • 75 Chuck Bowen
    Experimenter
    Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn't manufactured.
    • 77 Metascore
    • 75 Chuck Bowen
    Icaros: A Vision
    The film has a calming and inevitable quality, and a leisurely sense of pacing that favors image and sound over narrative propulsion, that slows our own biorhythms, fostering our sensorial empathy with the passengers.
    • 84 Metascore
    • 75 Chuck Bowen
    The Vast of Night
    Director AndrePatterson never breaks the film's incantatory spell with pointless freneticism, patiently savoring the great thrill of genre stories: anticipation.
    • 77 Metascore
    • 75 Chuck Bowen
    Prophet's Prey
    One watches the film with an escalating sense of disbelief and horror, as Warren Jeffs is steadily revealed to be an even greater monster than we initially take him for.
    • 81 Metascore
    • 75 Chuck Bowen
    Midnight Family
    It’s the mix of the humane and the calculating that gives the film its empathetic power.
    • 72 Metascore
    • 75 Chuck Bowen
    Old Stone
    Johnny Ma's Old Stone is a lean, nasty entry in a subgenre that could be termed the bureaucratic noir.
    • 86 Metascore
    • 75 Chuck Bowen
    The Red Turtle
    A pointed simplicity governs Michael Dudok de Wit's The Red Turtle, one that’s traditional of many survival tales.
    • 82 Metascore
    • 75 Chuck Bowen
    Rams
    Every moment in writer-director Grímur Hákonarson's strange and wonderful film is imbued with mystery and revealing dignity.
    • 70 Metascore
    • 75 Chuck Bowen
    The King
    The King benefits from a quality that's usually a liability in nonfiction films: Its scattershot structure gets at the truth of pop culture as an ineffable chimera that defines much of the world.
    • 70 Metascore
    • 75 Chuck Bowen
    Alone
    John Hyams’s film refutes the frenetic clichés of so modern American thrillers.
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