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 3.1 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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    • 80 Metascore
    • 88 Chuck Bowen
    Berberian Sound Studio
    On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmmaker is most prominently concerned with painting a sonic portrait of alienation.
    • 80 Metascore
    • 75 Chuck Bowen
    Mad God
    Mad God offers a dense cornucopia of genre-fueled outrageousness that’s gradually united by a concern with cycles of warfare.
    • 71 Metascore
    • 75 Chuck Bowen
    I Am Big Bird: The Caroll Spinney Story
    The transcendence that the film offers isn't to be taken lightly considering the near impossibility of living professionally as an artist.
    • 80 Metascore
    • 75 Chuck Bowen
    Brief History of a Family
    The film’s pregnant foreshadowing is revealed to be misdirection, the promise of a thriller offered as candy to lure us into a consideration of the tensions that can cast a pall over family life.
    • 80 Metascore
    • 88 Chuck Bowen
    Demon
    Demon offers a tidal wave of unrelieved longing and regret, with a devilish streak of absurdism.
    • 80 Metascore
    • 88 Chuck Bowen
    Gasoline Rainbow
    The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
    • 80 Metascore
    • 88 Chuck Bowen
    The Other Side of the Wind
    The Other Side of the Wind isn't a novelty item, but a work of anguished art that's worthy of its creator.
    • 79 Metascore
    • 63 Chuck Bowen
    Wife of a Spy
    Wife of a Spy could use a streak of live-wire, huckster crudeness, a bit of melodrama delivered in an unselfconscious manner.
    • 72 Metascore
    • 75 Chuck Bowen
    Let Them All Talk
    Steven Soderbergh’s signature formal gamesmanship enlivens what could have been a stodgy scenario.
    • 79 Metascore
    • 75 Chuck Bowen
    Mank
    The film's most haunting sequences are self-contained arias in which characters grapple with their powerlessness.
    • 79 Metascore
    • 75 Chuck Bowen
    An Unmarried Woman
    Mazursky finds the politics in the wrinkles of human behavior, rather than contriving behavior to suit his politics.
    • 63 Metascore
    • 50 Chuck Bowen
    Perfect Strangers (Perfectos Desconocidos)
    Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.
    • 50 Metascore
    • 25 Chuck Bowen
    Miss Minoes
    After 30 long minutes, I stopped trying to make allowances for its varying ineptitudes, and Carice van Houten's work as the spunky human cat was the only reason I held out that long.
    • 79 Metascore
    • 88 Chuck Bowen
    Nosferatu the Vampyre
    Herzog’s idiosyncratic horror classic remains a vital conversation between two distinct generations of brilliant German filmmakers.
    • 79 Metascore
    • 75 Chuck Bowen
    The Crash Reel
    It compellingly captures a family wrestling mightily with the riddles and contradictions of a culture that promotes achievement at all costs with little thought as to what that actually means.
    • 79 Metascore
    • 88 Chuck Bowen
    Hotel by the River
    A story of a poet, Hotel by the River comes to resemble a poetry collection itself, abounding in emotional currents and grace notes that are bracingly allowed to hang, free of reductive explication.
    • 79 Metascore
    • 75 Chuck Bowen
    In Our Day
    For Hong Sang-oo, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
    • 74 Metascore
    • 63 Chuck Bowen
    Roxanne Roxanne
    One presumes that Michael Lerner's sense of emphasis is meant to humanize Shanté, defining her apart from the fame she achieved, but this stratagem backfires as Roxanne Roxanne mires itself in scenes of speechifying domestic strife.
    • 50 Metascore
    • 75 Chuck Bowen
    Lifeforce
    Watching Lifeforce now is to be reminded that even big-budget films were once allowed to be adventurous and idiosyncratic, even in the 1980s, and that American horror movies were once capable of being fun, sexy, and subversively empathetic.
    • 79 Metascore
    • 75 Chuck Bowen
    The Assistant
    With The Assistant, writer-director Kitty Green offers a top-to-bottom portrait of incremental dehumanization, and, on its terms, the film is aesthetically, tonally immaculate.
    • 58 Metascore
    • 50 Chuck Bowen
    The Highwaymen
    Where Bonnie and Clyde is gloriously tragic, The Highwaymen is blunt and anti-climactically savage, fulfilling as well as somewhat critiquing former Texas Ranger Frank Hamer’s bloodlust.
    • 57 Metascore
    • 50 Chuck Bowen
    France
    France indecisively utilizes a news personality’s crocodile tears as a symbol of the bad faith that pervades news discourse.
    • 79 Metascore
    • 63 Chuck Bowen
    Fences
    Danzel Washington honors the manna of the play's being: the micro of romantic longing, self-loathing, and nostalgia.
    • 79 Metascore
    • 75 Chuck Bowen
    Another Round
    Thomas Vinterberg’s latest, like The Hunt, is ultimately a parable about breaking a social contract.
    • 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.
    • 79 Metascore
    • 75 Chuck Bowen
    The Painter and the Thief
    Throughout the documentary, Benjamin Ree upsets conventions, offering a moving portrait of two lost souls.
    • 79 Metascore
    • 75 Chuck Bowen
    Black Bear
    Shot through with darkly existentialist humor, the film finds Aubrey Plaza throwing a gauntlet to filmmakers who have typecast her in the past.
    • 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.
    • 78 Metascore
    • 63 Chuck Bowen
    Angels Wear White
    In her understandable fury, Vivian Qu almost valorizes suffering, embracing it as a substantial signifier of identity.
    • 5 Metascore
    • 0 Chuck Bowen
    The Human Centipede III (Final Sequence)
    Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."
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