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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    • 12 Metascore
    • 63 Chuck Bowen
    Oconomowoc
    Writer-director Andy Gillies's film is extremely self-conscious, but in a fashion that generally serves the material.
    • 57 Metascore
    • 63 Chuck Bowen
    Three Peaks
    The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.
    • 64 Metascore
    • 63 Chuck Bowen
    Men & Chicken
    An admirably bizarre and beautiful genre mixtape, but Anders Thomas Jensen's empathy for his characters gradually impedes his imagination.
    • 66 Metascore
    • 63 Chuck Bowen
    Blood Father
    The film shrewdly capitalizes on Mel Gibson's off-screen embarrassments and controversies.
    • 57 Metascore
    • 63 Chuck Bowen
    Wrath of Man
    Cacophony eventually takes over Wrath of Man, stranding the actors in the process. Except, that is, for Jason Statham, who’s by now a master of presiding over Guy Ritchie’s gleeful chaos.
    • 81 Metascore
    • 63 Chuck Bowen
    She Dies Tomorrow
    Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
    • 60 Metascore
    • 63 Chuck Bowen
    Nightmare Cinema
    The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.
    • 54 Metascore
    • 63 Chuck Bowen
    Blessed Child
    Filmmaker Cara Jones offers a poignant testament to the baggage and insecurities hounding her own life.
    • 63 Metascore
    • 63 Chuck Bowen
    The Ones Below
    Even the film's lapses inform it with a free-associative sense of portent, evoking the stupid things we inexplicably do in our most personal nightmares.
    • 56 Metascore
    • 63 Chuck Bowen
    The Legend of Hell House
    The Legend of Hell House is a regrettably just-competent adaptation of a great American horror novel.
    • 39 Metascore
    • 63 Chuck Bowen
    The Dirt
    Like most biopics, The Dirt crams so many events into its narrative as to compromise the sense that these are real characters in the here and now.
    • 51 Metascore
    • 63 Chuck Bowen
    3, 2, 1... Frankie Go Boom
    The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.
    • 69 Metascore
    • 63 Chuck Bowen
    Predestination
    The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
    • 58 Metascore
    • 63 Chuck Bowen
    Southbound
    Southbound is yet another contemporary horror film that belongs to seemingly every era but its own.
    • 85 Metascore
    • 63 Chuck Bowen
    Nomad: In the Footsteps of Bruce Chatwin
    A supplementary subject of most of Herzog’s work, which it shares with Chatwin’s, is a bottomless yearning for wonder.
    • 66 Metascore
    • 63 Chuck Bowen
    Bronx Gothic
    By design, the film is intensely preachy. And this preachiness serves a therapeutic purpose, offering jolting possibilities for empathy.
    • 57 Metascore
    • 63 Chuck Bowen
    Strange Weather
    There’s a tough and mysterious film within Strange Weather, though it doesn’t quite escape the strictures of a busy and studiously weird narrative that’s governed by formula screenwriting.
    • 66 Metascore
    • 63 Chuck Bowen
    Werewolves Within
    The film becomes unexpectedly, effectively violent just when you’ve written it off as a glorified SNL sketch.
    • 65 Metascore
    • 63 Chuck Bowen
    Bill & Ted Face the Music
    The film suggests that Bill and Ted’s dreams of stardom, which have evolved into dreams of acceptance and expression, aren’t so stupid after all.
    • 72 Metascore
    • 63 Chuck Bowen
    First They Killed My Father
    First They Killed My Father is less interested in global politics than in offering an intensely experiential tapestry of war and invasion as witnessed by a child.
    • 50 Metascore
    • 63 Chuck Bowen
    The Night Eats the World
    Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
    • 53 Metascore
    • 63 Chuck Bowen
    Ava's Possessions
    Jordan Galland confidently perches the film right on the razor’s edge separating absurdist comedy from horror.
    • 72 Metascore
    • 63 Chuck Bowen
    Tale of Tales
    Matteo Garrone returns the fairy tale to its roots in cautionary horror grounded in deep, contradictory, neurotic relationships with gender and patriarchy.
    • 78 Metascore
    • 63 Chuck Bowen
    i'm thinking of ending things
    The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Charlie Kaufman has thought it to death.
    • 70 Metascore
    • 63 Chuck Bowen
    A Traveler's Needs
    Hong Sang-soo’s films have tricky narrative juxtapositions and symbols that often render potentially mundane moments transcendent.
    • 56 Metascore
    • 63 Chuck Bowen
    Alex of Venice
    Chris Messina is eventually a little too indifferent to the machinations of the plot, but the film, however inescapably sentimental, is a romantic daydream that casts a lovely spell.
    • 60 Metascore
    • 63 Chuck Bowen
    Kumaré
    Kumaré has a premise that could've been the launching point for one of Sascha Baron Cohen and Larry Charles's satirical outrages.
    • 53 Metascore
    • 63 Chuck Bowen
    Demons
    Demons is a coffee-table book of a horror movie, reveling in a purity of transcendent revulsion that marks it as something that’s really only suitable for the truest and most devoted of aficionados. It’s a snob’s objet d’art, disguised as a blood offering.
    • 73 Metascore
    • 63 Chuck Bowen
    Rumble: The Indians Who Rocked The World
    This is history that Americans should know, and the filmmaker approach Rumble as an introductory survey course.
    • 55 Metascore
    • 63 Chuck Bowen
    The Dolls
    Dolls is still ultimately minor-key Gordon, exhibiting nowhere near the level of ambition or invention of many of his hot-house splatter classics, but it has been rendered with an artisanal level of craftsmanship that distinguishes it as an almost-hidden horror gem, ready for rediscovery.
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