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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    • 62 Metascore
    • 63 Chuck Bowen
    The Bad Batch
    Ana Lily Amirpour has learned a few lessons from QT about the disreputable joys of blending kitsch and ultraviolence.
    • 74 Metascore
    • 63 Chuck Bowen
    Lost in Paris
    Lost in Paris abounds in whimsy that, for the most part, isn't irritatingly precious—a feat that's harder to pull off than it appears.
    • 84 Metascore
    • 88 Chuck Bowen
    Harmonium
    Throughout Harmonium, writer-director Kôji Fukada works in a rapt and lucid hyper-textural style that suggests a merging of the sensibilities of Alfred Hitchcock and Yasujirô Ozu.
    • 69 Metascore
    • 50 Chuck Bowen
    Moka
    Frédéric Mermoud's film makes an elaborate pretense of honoring the traditions of the observational procedural.
    • 76 Metascore
    • 63 Chuck Bowen
    Night School
    One may wonder if Night School's most revealing material has been left on the cutting room floor, so as to offer the sort of uplift that inadvertently marginalizes the very inequalities that drive the film.
    • 86 Metascore
    • 88 Chuck Bowen
    Dawson City: Frozen Time
    Throughout, direcgor Bill Morrison mixes documentarian detail with an ecstatic sense of poetry.
    • 44 Metascore
    • 50 Chuck Bowen
    Churchill
    The film simplifies Winston Churchill's legacy for the dubious purposes of narrative momentum and emotional lift.
    • 77 Metascore
    • 75 Chuck Bowen
    The B-Side: Elsa Dorfman's Portrait Photography
    Errol Morris films Dorfman and her work with a rapt attentiveness that maps the nostalgic and regretful stirrings of her soul.
    • 56 Metascore
    • 50 Chuck Bowen
    War Machine
    Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.
    • 73 Metascore
    • 63 Chuck Bowen
    Abacus: Small Enough to Jail
    Steve James is clearly positioning the film as a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.
    • 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.
    • 64 Metascore
    • 63 Chuck Bowen
    Folk Hero & Funny Guy
    In the film's best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.
    • 68 Metascore
    • 50 Chuck Bowen
    Chuck
    Like its protagonist, Philippe Falardeau's film gets lost in a haze of incidental cacophony.
    • 57 Metascore
    • 38 Chuck Bowen
    The Dinner
    The film is shrilly, luridly, dully, and unremittingly ugly, preaching to a choir that it also demonizes.
    • 35 Metascore
    • 25 Chuck Bowen
    Rupture
    It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
    • 66 Metascore
    • 75 Chuck Bowen
    Slack Bay
    Bruno Dumont's formalism is presently charged with a spark of simultaneously controlled and spontaneous mystery.
    • 68 Metascore
    • 63 Chuck Bowen
    Jeremiah Tower: The Last Magnificent
    Lydia Tenaglia's direction is occasionally flashy and cluttered, but her empathy for Tower is evocative and poignant.
    • 39 Metascore
    • 0 Chuck Bowen
    Queen of the Desert
    Throughout Queen of the Desert's narrative, there's no sense of danger, of texture, or even of a rudimentary idea of what's truly driving Gertrude Bell.
    • 77 Metascore
    • 75 Chuck Bowen
    Win It All
    There's an artisanal scruffiness to Win It All that testifies to Joe Swanberg’s quiet fluidity as a filmmaker.
    • 44 Metascore
    • 50 Chuck Bowen
    Salt and Fire
    Salt and Fire is a doodle, suggesting an assemblage of ecological riffs and fantasias that Werner Herzog may have entertained while making Into the Inferno.
    • 34 Metascore
    • 38 Chuck Bowen
    The Assignment
    Walter Hill and Michelle Rodriguez seem to share Frank’s confusion over the precise difference between cosmetic and biological reality.
    • 68 Metascore
    • 63 Chuck Bowen
    The Blackcoat's Daughter
    Oz Perkins exhibits a committed understanding of the cinematic value of silence and of vastly underpopulated compositions.
    • 75 Metascore
    • 75 Chuck Bowen
    David Lynch: The Art Life
    Throughout the documentary, the undisguised regret and longing of David Lynch's reminiscences are often startling.
    • 71 Metascore
    • 63 Chuck Bowen
    Prevenge
    Alice Lowe evinces a knack for locating society’s most awkward pressure points, and a willingness to punch them.
    • 90 Metascore
    • 88 Chuck Bowen
    I Called Him Morgan
    Director Kasper Collins imbues this documentary with an ambiguous, unsettlingly empathetic emotional force.
    • 73 Metascore
    • 88 Chuck Bowen
    By the Time It Gets Dark
    Anocha Suwichakornpong earnestly and ambitiously attempts to redefine cinema’s conventional grasp of consciousness.
    • 73 Metascore
    • 50 Chuck Bowen
    Frantz
    The pacing is so humorless and funereal that it squelches the possibility of heat or conflict arising between the characters.
    • 44 Metascore
    • 50 Chuck Bowen
    The Belko Experiment
    The film's characters are stock types without enough satirical texture to fulfill their function in the narrative.
    • 60 Metascore
    • 88 Chuck Bowen
    Actor Martinez
    Mike Ott and Nathan Silver's film has a ghostly, tremulous quality that eats under the skin.
    • 81 Metascore
    • 75 Chuck Bowen
    Raw
    Throughout Raw, Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg.
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