Chuck Bowen

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Slant Magazine
For 646 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 EX LIBRIS: The New York Public Library
Lowest review score: 0 The Eyes of My Mother
Score distribution:
  1. Positive: 398 out of 646
  2. Mixed: 125 out of 646
  3. Negative: 123 out of 646
646 movie reviews
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    • 85 Metascore
    • 75 Chuck Bowen
    The Vast of Night
    Director AndrePatterson never breaks the film's incantatory spell with pointless freneticism, patiently savoring the great thrill of genre stories: anticipation.
    • 78 Metascore
    • 75 Chuck Bowen
    The Painter and the Thief
    Throughout the documentary, Benjamin Ree upsets conventions, offering a moving portrait of two lost souls.
    • 32 Metascore
    • 63 Chuck Bowen
    Inheritance
    Simon Pegg occasionally fulfills the nightmarish potential of the film’s fairy-tale premise.
    • 75 Metascore
    • 75 Chuck Bowen
    Diana Kennedy: Nothing Fancy
    In this time of peril and chaos, Elizabeth Carroll’s documentary is a balm for the soul.
    • 46 Metascore
    • 38 Chuck Bowen
    Capone
    Every scene is virtually self-contained, and so Capone feels as if it’s starting all over again from frame to frame.
    • 73 Metascore
    • 75 Chuck Bowen
    Spaceship Earth
    The film offers a refuge of idealism and intellectuality in an age that’s actively hostile to both of those qualities.
    • 65 Metascore
    • 63 Chuck Bowen
    A Good Woman Is Hard to Find
    The film’s early scenes turn the stuff of paying bills and managing kids into manna for an unsettlingly intimate domestic thriller.
    • 61 Metascore
    • 50 Chuck Bowen
    The Wretched
    The filmmakers don’t examine the psychological terror, the bitterness, and lust that gave rise to many of the works they cherish.
    • 65 Metascore
    • 50 Chuck Bowen
    Bull
    Director Annie Silverstein tries to enrich the tropes of her class-conscious buddy scenario by canceling them out.
    • 53 Metascore
    • 50 Chuck Bowen
    The Quarry
    Only Michel Shannon’s off-kilter timing brings The Quarry to sporadic life.
    • 60 Metascore
    • 50 Chuck Bowen
    Sea Fever
    Writer-director Neasa Hardiman’s film is undone by earnestness.
    • 65 Metascore
    • 75 Chuck Bowen
    Deerskin
    In Deerskin, Quentin Dupieux mines the absurdism that is his signature with newfound forcefulness.
    • 55 Metascore
    • 75 Chuck Bowen
    The Burnt Orange Heresy
    The film allows that we are complicit in privilege for our fascination and envy.
    • 55 Metascore
    • 75 Chuck Bowen
    Siberia
    Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
    • 65 Metascore
    • 75 Chuck Bowen
    Swallow
    Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
    • 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.
    • 61 Metascore
    • 63 Chuck Bowen
    Disappearance at Clifton Hill
    What distinguishes the film from much of its ilk is Albert Shin’s ongoing taste for peculiar and unsettling details.
    • 62 Metascore
    • 63 Chuck Bowen
    Once Were Brothers: Robbie Robertson and The Band
    Robertson’s sense of having witnessed friends and collaborators get washed away by bitterness and addiction was more fulsomely evoked by The Last Waltz.
    • 61 Metascore
    • 50 Chuck Bowen
    Buffaloed
    The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
    • 80 Metascore
    • 75 Chuck Bowen
    Cane River
    The film’s awkwardness is expressive of the pain and confusion of wrestling with truths that shake one’s conception of identity.
    • 72 Metascore
    • 63 Chuck Bowen
    Weathering with You
    Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.
    • 61 Metascore
    • 63 Chuck Bowen
    The Informer
    Outside of the Easy Money series, Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
    • 48 Metascore
    • 63 Chuck Bowen
    A Rainy Day in New York
    The film’s skittishness is particularly maddening considering that Woody Allen has nothing to artistically to prove.
    • 77 Metascore
    • 75 Chuck Bowen
    Clemency
    Chinonye Chukwu’s film is a morality play with a true sense of contradiction and melancholia.
    • 68 Metascore
    • 63 Chuck Bowen
    What She Said: The Art of Pauline Kael
    The documentary is enjoyable, but one suspects that its subject may have found it soft.
    • 68 Metascore
    • 63 Chuck Bowen
    Richard Jewell
    Ironically, Clint Eastwood is as condescending of Jewell as the bureaucrats he despises.
    • 81 Metascore
    • 75 Chuck Bowen
    Midnight Family
    It’s the mix of the humane and the calculating that gives the film its empathetic power.
    • 81 Metascore
    • 75 Chuck Bowen
    In Fabric
    Strickland’s film is another fetish object that rues the perils of fetishism.
    • 60 Metascore
    • 75 Chuck Bowen
    Little Joe
    Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
    • 61 Metascore
    • 63 Chuck Bowen
    Shooting the Mafia
    Kim Longinotto is so eager to celebrate her hero that she also glides past thornier portions of Letizia Battaglia’s life.
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