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Giles M. Fowler

Giles M. Fowler's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Reviews

Movies 온라인카지노추천 Shows
Funny Lady (1975) 51% “Barbra Streisand's performance sets a lots of electrons in motion. But even the star's dynamism is not enough -- not by a long way -- to keep the film steadily charged with life.” – Kansas City Star Apr 24, 2025 Full Review 2001: A Space Odyssey (1968) 90% “Through a barrage of mind-bending imagery, through a shocking short-circuit of literalism and logic, "Space Odyssey" somehow achieves the sensory equivalent of religious awe. It is a triumph of the art's mastery over reason and known experience.” – Kansas City Star Apr 9, 2025 Full Review Rancho Deluxe (1975) 62% “"Rancho Deluxe" is a minor film that gets its best effect by appearing effortless. Movie-goers looking for light refreshment could do a lot worse.” – Kansas City Star Mar 27, 2025 Full Review Nashville (1975) 89% “Ride along with Altman's style, fall into these peculiar rhythms of narrative experience, and Nashville will reward you as will few other pictures this year. ” – Kansas City Star Feb 27, 2025 Full Review Barbarella (1968) 65% “What makes the thing so stupendously awful and callous is its perpetration of a mighty fraud. ” – Kansas City Star Feb 12, 2025 Full Review Shampoo (1975) 75% “When we're asked to relate to these people on film it's not the satire that gets in the way. It's the sentimentality joined to the satire and stripped naked by a lewd, amused wink.” – Kansas City Star Feb 10, 2025 Full Review The Conversation (1974) 93% “To call The Conversation a thriller alone is about as accurate as calling Hamlet a revenge melodrama. Ideas ripple the surface of the film like tremors in disturbed water.” – Kansas City Star Sep 24, 2024 Full Review Let It Be (1970) 81% “The film only flirts with stray hints about their private selves and their unique dynamism as a group. And the blame falls squarely upon the director, Michael Lindsay-Hogg, for copping out on a chief obligation of documentary moviemaker. ” – Kansas City Star May 9, 2024 Full Review Dog Day Afternoon (1975) 96% ““Dog Day Afternoon” is to standard melodrama what Hemingway is to Mickey Spillane.” – Kansas City Star Apr 6, 2024 Full Review Little Big Man (1970) 91% “It's the Old West from a brand new viewpoint -- a tall tale told with beauty, a quirky sense of fun, compassion and frequent outrage. ” – Kansas City Star Nov 10, 2023 Full Review The Last Picture Show (1971) 98% “Bogdanovich is an artist of obvious courage. That he dared to make a simple, emotionally committed film in an age zonked on sensational trendiness and hip withdrawal is an act of some courage in itself. ” – Kansas City Star Oct 25, 2023 Full Review Taxi Driver (1976) 89% “Scorsese's direction is feverishly vital, almost demonic, lending the film a harsh, jangling rhythm that works on the nerve ends. His capture of place is absolutely sure.” – Kansas City Star Oct 6, 2023 Full Review The Exorcist (1973) 78% “It's a cheap kind of horror because it is nothing more than repulsive spectacle, unattended by sympathy or even suspense. ” – Kansas City Star Sep 27, 2023 Full Review Fiddler on the Roof (1971) 81% “I found the effect unintentionally, even paradoxically vulgar (what with such obvious pains taken to make the film tasteful), in that something modest and truly poetic has been turned into something grand and somehow inharmonious. ” – Kansas City Star May 16, 2023 Full Review 3 Women (1977) 83% “It is both exquisitely made and intelligently thought out. ” – Kansas City Star Apr 7, 2023 Full Review Bob & Carol & Ted & Alice (1969) 82% “Bob & Carol & Ted & Alice is funny & uneven & trenchant & compromising. And like it or not (I did very much, with reservations) you’ve got to admit it throws penetrating light on some conspicuous nincompooperies on the American scene.” – Kansas City Star Jun 16, 2022 Full Review Pat Garrett and Billy the Kid (1973) 59% “It begins to look as if Sam Peckinpah has seen too many Sam Peckinpah movies. ” – Kansas City Star Jun 14, 2022 Full Review Barefoot in the Park (1967) 81% “he movie has dandy performances by Jane Fonda and Robert Redford as the newlyweds, Mildred Natwick as the mother, Charles Boyer as the neighbor and Herbert Edelman as a phone installer who keepshaving to climb all those stairs.” – Kansas City Star May 2, 2022 Full Review Midnight Cowboy (1969) 89% “The ugliness of Midnight Cowboy is so teeming and repellent, so dense with sad and nasty revelation, that it can only be reconciled by an equal beauty. The amazing thing about this new film by John Schlesinger is that the beauty is there.” – Kansas City Star Mar 11, 2022 Full Review One Flew Over the Cuckoo's Nest (1975) 93% “The movie has the power to elate and anger with the spectacle of raw moral positions... Even the more cynical, sophisticated minds are apt to buckle happily under the driving assault of this picture.” – Kansas City Star Mar 7, 2022 Full Review Oliver! (1968) 91% “The film Oliver! is just too engaging to be resisted, and there’s no point trying. Even if one objects to the bowdlerization of Dickens, or to certain mechanical flaws within Lionel Bart’s musical.” – Kansas City Star Mar 2, 2022 Full Review The Heartbreak Kid (1972) 92% “The funniest American comedy to come along in ages -- a work of such droll perceptiveness that the very memory of it starts me chortling.” – Kansas City Star Feb 22, 2022 Full Review A New Leaf (1971) 94% “The stars are sublimely ridiculous. Miss May herself, making her first film as writer, director and performer, has brought to the screen a brand of humor that is wickedly observant, a shade demonic and altogether fresh.” – Kansas City Star Feb 10, 2022 Full Review My Fair Lady (1964) 94% “Although the film is short of perfect, it will nonetheless be a happy surprise for all who think movie musicals must always be raucous, simple-minded and shocking to the eye.” – Kansas City Star Feb 9, 2022 Full Review In the Heat of the Night (1967) 95% “This illusionless realism in the way the two react to each other is the film's main virtue, and it draws directly from the brilliance Poitier and Steiger bring to their portrayals.” – Kansas City Star Feb 2, 2022 Full Review
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