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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    • 19 Metascore
    • 63 Chuck Bowen
    Polar
    The film’s horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might’ve been more shocking if it weren’t placed so firmly in quotation marks.
    • 76 Metascore
    • 75 Chuck Bowen
    Tito and the Birds
    The Brazilian animated feature offers relief from the impersonal assault of contemporary pop culture.
    • 63 Metascore
    • 50 Chuck Bowen
    Perfect Strangers (Perfectos Desconocidos)
    Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.
    • 61 Metascore
    • 50 Chuck Bowen
    Vice
    Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
    • 66 Metascore
    • 75 Chuck Bowen
    Clara's Ghost
    Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor.
    • 71 Metascore
    • 75 Chuck Bowen
    Tyrel
    Sebastián Silva never indulges platitude, and so the qualified hope of the film’s ending isn’t merely affirming but also miraculous.
    • 70 Metascore
    • 38 Chuck Bowen
    Sicilian Ghost Story
    The film is determinedly unclassifiable, blurring genres with a fervor that grows tedious.
    • 94 Metascore
    • 88 Chuck Bowen
    Amazing Grace
    It offers a profound glimpse of one of the greatest and most influential voices in modern music.
    • 75 Metascore
    • 63 Chuck Bowen
    Stan & Ollie
    At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable.
    • 63 Metascore
    • 63 Chuck Bowen
    Chef Flynn
    At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative.
    • 77 Metascore
    • 75 Chuck Bowen
    They'll Love Me When I'm Dead
    Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it.
    • 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.
    • 76 Metascore
    • 75 Chuck Bowen
    The Price of Everything
    The film understands that money is a defining element of art-making, whether or not we wish to admit it.
    • 54 Metascore
    • 38 Chuck Bowen
    An Evening with Beverly Luff Linn
    The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random.
    • 69 Metascore
    • 38 Chuck Bowen
    The Sentence
    Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
    • 68 Metascore
    • 75 Chuck Bowen
    Barbara
    In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
    • 64 Metascore
    • 50 Chuck Bowen
    The Happy Prince
    For every haunting sequence in The Happy Prince, there’s five that redundantly wallow in Oscar Wilde’s misery, which is Rupert Everett’s point, but it becomes wearisome.
    • 70 Metascore
    • 75 Chuck Bowen
    Studio 54
    The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
    • 63 Metascore
    • 38 Chuck Bowen
    Hold the Dark
    Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem.
    • 67 Metascore
    • 50 Chuck Bowen
    Monsters and Men
    Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics.
    • 54 Metascore
    • 50 Chuck Bowen
    Assassination Nation
    Assassination Nation carelessly affirms the idea that all women should be able to fight back at will, and if they don’t, it’s on them.
    • 76 Metascore
    • 75 Chuck Bowen
    Garry Winogrand: All Things are Photographable
    Sasha Waters Freyer forges a poignant portrait of an artist attempting to transcend the limitations of his art by refusing to see the process through.
    • 71 Metascore
    • 75 Chuck Bowen
    The Land of Steady Habits
    Nicole Holofcener's The Land of Steady Habits often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
    • 83 Metascore
    • 75 Chuck Bowen
    Mandy
    Panos Cosmatos's film is a profoundly violent and weirdly moving poem of male alienation.
    • 80 Metascore
    • 100 Chuck Bowen
    Monrovia, Indiana
    As always with Frederick Wiseman, it’s the quotidian gestures that haunt one in Monrovia, Indiana.
    • 75 Metascore
    • 63 Chuck Bowen
    Blaze
    With Blaze, a fractured story of country music singer-songwriter Blaze Foley, director Ethan Hawke admirably battles the clichés of the musical biopic.
    • 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.
    • 87 Metascore
    • 100 Chuck Bowen
    Bisbee '17
    The film's epic canvas invigorates Robert Greene, who fuses a procedural documentary, in the key of Frederick Wiseman’s films, with tableaux that wouldn’t be out of place in a horror western.
    • 69 Metascore
    • 75 Chuck Bowen
    Asako I & II
    Like Happy Hour, Asako I & II is a parable of the grace — and, yes, happiness — that spring from resignation.
    • 93 Metascore
    • 88 Chuck Bowen
    Shoplifters
    In Shoplifters, Kore-eda dramatizes the insidious and relativistic ordinariness of poverty.
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