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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    • 51 Metascore
    • 50 Chuck Bowen
    Papillon
    This remake proffers the sort of cinematic nowhere place that's all too common of an increasingly corporate, globalized cinema.
    • 89 Metascore
    • 75 Chuck Bowen
    Minding the Gap
    Zack and Keire's stunts are action scenes that are imbued with the gravity of the participants' youth, revelry, and need to prove themselves.
    • 80 Metascore
    • 75 Chuck Bowen
    We the Animals
    In We the Animals, director Jeremiah Zagar sustains a tone of wounded nostalgia, fashioning a formalism that appears to exist simultaneously in the past and present.
    • 76 Metascore
    • 63 Chuck Bowen
    A Prayer Before Dawn
    A Prayer Before Dawn is concerned above all with ensuring that we share its main character's sense of dislocation and entrapment.
    • 54 Metascore
    • 75 Chuck Bowen
    Elizabeth Harvest
    Sebastian Gutierrez's film creates an incestuous atmosphere that's reminiscent of the stories of Edgar Allan Poe.
    • 91 Metascore
    • 100 Chuck Bowen
    Gavagai
    Rob Tregenza's film is rooted in the communion as well as the sensorial challenges of savoring art.
    • 71 Metascore
    • 50 Chuck Bowen
    No Date, No Signature
    Vahid Jalilvand's film is so worked out that you know that every nuance is pointed and intentional.
    • 67 Metascore
    • 75 Chuck Bowen
    Scotty and the Secret History of Hollywood
    The film poignantly reveals that the secret history of Hollywood is really an alternate history of America.
    • 67 Metascore
    • 50 Chuck Bowen
    The Captain
    In one fashion, Robert Schwentke proves to be too complicit with his protagonist, regarding evil and human banality as stimulation.
    • 68 Metascore
    • 75 Chuck Bowen
    The Third Murder
    In The Third Murder, as in his other films, Hirokazu Kore-eda informs tragedy with a distinctive kind of qualified humor that's realistic of how people process atrocity.
    • 73 Metascore
    • 50 Chuck Bowen
    Milford Graves Full Mantis
    Jake Meginsky's documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.
    • 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.
    • 88 Metascore
    • 88 Chuck Bowen
    Leave No Trace
    In Leave No Trace, director Debra Granik continues to refine a style of tranquil intensity. The film's images have a rapt and pared-down power, with emphases that are never quite where you expect them to be.
    • 75 Metascore
    • 50 Chuck Bowen
    Under the Tree
    Under the Tree boasts the lurid determinism of many acclaimed European films that spit-shine genre-film tropes with chilly compositions and fashionable hopelessness.
    • 82 Metascore
    • 75 Chuck Bowen
    Madeline's Madeline
    True to the implications of its title, the devotional insularity of Madeline's Madeline is suffocating, which is appropriate for a film about a mentally imbalanced teenage artist but suffocating nonetheless.
    • 51 Metascore
    • 38 Chuck Bowen
    Woman Walks Ahead
    As a character, Catherine Weldon suffers the same fate as Sitting Bull, having been reduced to a signifier of the filmmakers' retroactive political correctness.
    • 83 Metascore
    • 63 Chuck Bowen
    Custody
    Custody is concerned with the failure of process to discern human need and perversion, and Xavier Legrand rather ironically follows in the footsteps of bureaucracy by reducing people to statistics.
    • 51 Metascore
    • 63 Chuck Bowen
    Izzy Gets the F*ck Across Town
    Christian Papierniak manages to get a tricky tonal balance more or less right, capturing the false sense of superiority that Izzy projects over her environment without allowing the film itself to revel in said superiority.
    • 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.
    • 49 Metascore
    • 50 Chuck Bowen
    The Catcher Was a Spy
    As the film proceeds, the appeal of its nostalgia wears thin and you may notice that there isn't much beyond the window dressing.
    • 67 Metascore
    • 25 Chuck Bowen
    Nancy
    There's vanity in its boutique art-film brand of hopelessness, which derives from a fetishizing of "keeping it real."
    • 21 Metascore
    • 12 Chuck Bowen
    211
    The film relegates Nicolas Cage to a supporting player and crowds him with considerably less charismatic performers.
    • 39 Metascore
    • 75 Chuck Bowen
    Rodin
    Jacques Doillon's shrewd ellipses emphasize time as a great and uniting humbler and thief, allowing stray moments to suddenly crystallize unexpressed yearnings.
    • 62 Metascore
    • 75 Chuck Bowen
    On Chesil Beach
    The film’s imaginative daring springs from its willingness to render repression sexy, even if it will prove to be the seed of a young couple’s dissolution.
    • 73 Metascore
    • 88 Chuck Bowen
    Sollers Point
    Sollers Point is a moving and elusive blend of naturalism and melodrama, less a character study than an analysis of a community.
    • 73 Metascore
    • 63 Chuck Bowen
    Filmworker
    Tony Zierra interviews Leon Vitali at length, and he’s a commanding camera object with an obvious wellspring of longing and pain.
    • 72 Metascore
    • 88 Chuck Bowen
    The Day After
    As with most Hong Sang-soo films, it engages in intellectual gamesmanship while courting emotional pathos.
    • 74 Metascore
    • 63 Chuck Bowen
    Beast
    The narrative has a gambit that steers Beast into the terrain of a horror film, offsetting the sentimentality of the audience-flattering romance.
    • 81 Metascore
    • 75 Chuck Bowen
    Revenge
    Fetishism, parody, and various registers of violence propel a livewire thriller that mines the free-floating hostility existing between genders.
    • 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.
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