Well (and stipulating that, yes, I am a big and chronic Bowie fan), it's not enough of a roman a clef to not be about Bowie, and the arc of the Brian Slade/Maxwell Demon character--simply disappearing until he reappears as the Let's Dance Bowie--ignores what is to me the artistic zenith of Bowie's career, the Berlin albums, and since the film further suggests that Maxwell Demon is Slade's "true" persona, Haynes' premise goes beyond wrong to simply broken. IMESHO.
I was being a bit cautious above because, in the past, people who knew that I was into Bowie wanted to talk about the movie and thought that I would love it as much as they did, and to say that I disappointed them would be putting it mildly. And the thing is, Haynes is a great director and the actors are good and I totally get that it's really about Christian Bale's character and how he experienced the era and how it affected him, and if Haynes had made just a couple tweaks to Slade, I probably could have accepted it. But, as it is, it reminds me of something that Bowie said in a Rolling Stone interview (ironically, done around the time that the "present" frame of the film is set), when the interviewer asked Bowie about the numerous unauthorized biographies of him floating around, and Bowie's take was that they all tended to be based on interviews with the same group of people--the ex-wife, the ex-groupie, etc.--that had a fun time with him back in the seventies, and were more than a little bitter when the party was over. That, to me, is the film in a nutshell.
whew. Better out than in, eh?