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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    • 46 Metascore
    • 50 Chuck Bowen
    Wolves
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
    • 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.
    • 77 Metascore
    • 88 Chuck Bowen
    Apprentice
    Writer-director Boo Junfeng casually reinvigorates the prison drama, boiling its elements down to their primal essence.
    • 64 Metascore
    • 75 Chuck Bowen
    XX
    These shorts follow female protagonists as they wrestle with exclusion and implicit social standards that may or may not extend to their male counterparts.
    • 43 Metascore
    • 38 Chuck Bowen
    In Dubious Battle
    Bits of editorializing dialogue throughout James Franco's In Dubious Battle suggest the resonant film that might’ve been.
    • 55 Metascore
    • 63 Chuck Bowen
    Stray Bullets
    What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.
    • 76 Metascore
    • 75 Chuck Bowen
    Keep Quiet
    The filmmakers astutely reveal how a culture can eat another alive and somehow live with itself.
    • 25 Metascore
    • 25 Chuck Bowen
    Rings
    Rings is unsure as to whether it’s a sequel to the other entries in the series or a contemporary reboot.
    • 15 Metascore
    • 12 Chuck Bowen
    Eloise
    Robert Legato's film is lifelessly composed of the usual tropes of horror films set in mental asylums.
    • 50 Metascore
    • 50 Chuck Bowen
    War on Everyone
    The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique.
    • 49 Metascore
    • 63 Chuck Bowen
    Resident Evil: The Final Chapter
    The Resident Evil films are so unconcerned with traditional character and narrative that they suggest either abstract art or the fevered brainstorming of a child at play.
    • 85 Metascore
    • 100 Chuck Bowen
    The Salesman
    Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.
    • 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.
    • 53 Metascore
    • 63 Chuck Bowen
    Master
    The film is seemingly terrified of boring us, offering one elaborate montage of catch and release (or of survey and flee) after another.
    • 76 Metascore
    • 38 Chuck Bowen
    A Monster Calls
    A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
    • 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.
    • 41 Metascore
    • 25 Chuck Bowen
    The Hollow Point
    Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances.
    • 56 Metascore
    • 38 Chuck Bowen
    Frank & Lola
    The film occasionally benefits from the weird energy shared between Michael Shannon and Imogen Poots.
    • 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.
    • 63 Metascore
    • 0 Chuck Bowen
    The Eyes of My Mother
    Though the film strives to be audacious and galvanizing, it's easily shaken off as an exercise in stunted necrophilia erotica.
    • 82 Metascore
    • 88 Chuck Bowen
    The Love Witch
    The film has an artisanal intensity that prevents it from turning into a smug and predictable exercise in political revision.
    • 69 Metascore
    • 75 Chuck Bowen
    The Monster
    The film has an eerily WTF arbitrariness that should be the domain of more films in the genre.
    • 86 Metascore
    • 75 Chuck Bowen
    The Prison in Twelve Landscapes
    The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
    • 76 Metascore
    • 63 Chuck Bowen
    Into the Inferno
    The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.
    • 76 Metascore
    • 75 Chuck Bowen
    Creepy
    In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film.
    • 35 Metascore
    • 50 Chuck Bowen
    31
    It collapses into repetition and unintended self-parody, as it's devoid of the subtext and empathetic audacity.
    • 64 Metascore
    • 88 Chuck Bowen
    In a Valley of Violence
    The film communicates a sporadic sense of violation—of pastiche unpredictably giving way to a raw and primordially intimate emotional realm.
    • 85 Metascore
    • 75 Chuck Bowen
    The Handmaiden
    With The Handmaiden, Park Chan-wook has made a gigantic leap as an artist, but he retreats to lurid cartoonishness just as he’s earned your trust.
    • 88 Metascore
    • 88 Chuck Bowen
    Aquarius
    Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
    • 71 Metascore
    • 63 Chuck Bowen
    Theo Who Lived
    Theo Who Lived is fascinating, and Theo Padnos is an exacting storyteller, but the film pushes through one story point to the next, occasionally prizing velocity over texture.
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