Chuck BowenMovie Reviews & Previews - Rotten Tomatoes

Chuck Bowen

Chuck Bowen
Chuck Bowen's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
1/4 57% Trespass Against Us (2017) The efforts of a slumming cast dwarfed by clichés and opportunistically scattershot class pity. ‐ Slant Magazine
Posted Jan 16, 2017
3/4 91% The Red Turtle (La tortue rouge) (2017) Director Michael Dudok de Wit is drawn to transcendental refinement, seeking to provide us refuge from the excess of our world. ‐ Slant Magazine
Posted Jan 15, 2017
2.5/4 71% Master (ma-seu-teo) (2017) The film is seemingly terrified of boring us, offering one elaborate montage of catch and release (or of survey and flee) after another. ‐ Slant Magazine
Posted Jan 5, 2017
1.5/4 87% A Monster Calls (2017) A Monster Calls is both governed and straitjacketed by director J.A. Bayona's competent impersonality. ‐ Slant Magazine
Posted Dec 20, 2016
2/4 No Score Yet Trollhunters blends the tropes associated with Guillermo del Toro with the anonymous tics of generic fantasy. ‐ Slant Magazine
Posted Dec 19, 2016
2.5/4 95% Fences (2016) Fences is a scathing study of how white society destroys a promising black man's sense of self. ‐ Slant Magazine
Posted Dec 15, 2016
1/4 31% The Hollow Point (2016) Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances. ‐ Slant Magazine
Posted Dec 13, 2016
1.5/4 66% Frank & Lola (2016) Frank & Lola occasionally benefits from the weird energy shared between Michael Shannon and Imogen Poots. ‐ Slant Magazine
Posted Dec 7, 2016
3/4 95% Old Stone (Lao Shi) (2016) Johnny Ma's Old Stone is a lean, nasty entry in a subgenre that could be termed the bureaucratic noir. ‐ Slant Magazine
Posted Dec 3, 2016
0/4 76% The Eyes of My Mother (2016) Though the film strives to be audacious and galvanizing, it's easily shaken off as an exercise in stunted necrophilia erotica. ‐ Slant Magazine
Posted Nov 27, 2016
3.5/4 95% The Love Witch (2016) It has an artisanal intensity that prevents it from turning into a smug and predictable exercise in political revision. ‐ Slant Magazine
Posted Nov 14, 2016
3/4 78% The Monster (2016) The film has an eerily WTF arbitrariness that should be the domain of more films in the genre. ‐ Slant Magazine
Posted Nov 10, 2016
3/4 No Score Yet The Prison in Twelve Landscapes (2016) The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting. ‐ Slant Magazine
Posted Nov 3, 2016
2.5/4 90% Into the Inferno (2016) The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards. ‐ Slant Magazine
Posted Oct 24, 2016
3/4 94% Creepy (Kuripi: Itsuwari no rinjin) (2016) In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film. ‐ Slant Magazine
Posted Oct 21, 2016
2/4 50% 31 (2016) It collapses into repetition and unintended self-parody, as it's devoid of the subtext and empathetic audacity. ‐ Slant Magazine
Posted Oct 19, 2016
3/4 94% The Handmaiden (Ah-ga-ssi) (2016) 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. ‐ Slant Magazine
Posted Oct 12, 2016
2.5/4 80% Theo Who Lived (2016) The film pushes through one story point to the next, occasionally prizing velocity over texture. ‐ Slant Magazine
Posted Oct 5, 2016
3/4 93% Blue Jay (2016) Mark Duplass and Sarah Paulson have extraordinary chemistry, painting a cumulative portrait of the fragility and rareness of being truly in sync with a partner. ‐ Slant Magazine
Posted Oct 2, 2016
2.5/4 80% The Rehearsal (2016) A civics lesson in the film tethers a promising tale of artistic toil to the strictures of melodrama. ‐ Slant Magazine
Posted Sep 27, 2016
3/4 72% Staying Vertical (Rester vertical) (2017) The film changes gears whenever one is lulled into believing that it has finally settled into a recognizable narrative pattern. ‐ Slant Magazine
Posted Sep 25, 2016
2/4 29% Beauty And The Beast (La belle et la bête) (2016) Christophe Gans's telling of Beauty and the Beast abounds in impersonal and unsatisfying sumptuousness. ‐ Slant Magazine
Posted Sep 18, 2016
82% Tanna (2016) The film blends the Bard with National Geographic, failing to make a case for the inexplicability of their union. ‐ Slant Magazine
Posted Sep 14, 2016
2.5/4 69% Operation Avalanche (2016) The film attains a chilly existential quality as Matt Johnson's character discerns the weight of his actions. ‐ Slant Magazine
Posted Sep 12, 2016
50% Lady in Cement (1968) The political resonance of Frank Sinatra's sleepwalking is unsubtly reactionary. ‐ Slant Magazine
Posted Sep 9, 2016
60% Tony Rome (1967) The political resonance of Frank Sinatra's sleepwalking is unsubtly reactionary. ‐ Slant Magazine
Posted Sep 9, 2016
3/4 100% As I Open My Eyes (À peine j'ouvre les yeux) (2016) Leyla Bouzid displays considerable talent for dramatizing how young people eroticize peril and risk due to a lack of experience. ‐ Slant Magazine
Posted Sep 6, 2016
4/4 84% To Sleep With Anger (1990) Charles Burnett bridges theatrical dialogue, portentous omens, and presentational acting with masterful grace. ‐ Slant Magazine
Posted Sep 6, 2016
1.5/4 43% Kickboxer: Vengeance (2016) It relies less on in-camera stunts than editing that renders vague gibberish of the altercations. ‐ Slant Magazine
Posted Aug 29, 2016
2/4 35% Max Rose (2016) It occasionally and promisingly suggests an obsessive and free-associative paean to regret. ‐ Slant Magazine
Posted Aug 28, 2016
2.5/4 47% Complete Unknown (2016) Underneath the impersonal formal beauty and good acting is a familiar moral about self-imposed limitations. ‐ Slant Magazine
Posted Aug 22, 2016
3/4 83% In Order of Disappearance (2016) The film has been executed with a sense of formally stylish and thematically symmetric panache. ‐ Slant Magazine
Posted Aug 21, 2016
2.5/4 89% Blood Father (2016) Jean-François Richet's film shrewdly capitalizes on Mel Gibson's off-screen embarrassments and controversies. ‐ Slant Magazine
Posted Aug 10, 2016
3/4 61% The Lost Arcade (2016) The film's images have a loose, rough, textured liveliness that honors the spirit of Chinatown Fair. ‐ Slant Magazine
Posted Aug 8, 2016
3/4 71% Ants on a Shrimp (2016) It offers lively and layered images that reveal the chefs both as individuals and components of a larger social organism. ‐ Slant Magazine
Posted Jul 27, 2016
2.5/4 96% Gleason (2016) One comes to distrust Gleason's pathos, because it always appears to be selling something. ‐ Slant Magazine
Posted Jul 25, 2016
3/4 99% Don't Think Twice (2016) It displays an intimate chemical understanding of the exhausting and unrelentingly impotent agony of failure. ‐ Slant Magazine
Posted Jul 17, 2016
3/4 72% My King (Mon roi) (2016) Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery. ‐ Slant Magazine
Posted Jul 10, 2016
2.5/4 93% The Mermaid (Mei ren yu) (2016) It offers a visual reprieve from the cumbersomely mechanized aesthetic of so much contemporary fantasy. ‐ Slant Magazine
Posted Jul 5, 2016
1.5/4 9% Cell (2016) The film insufficiently connects the book's prophecy with its present-day, real-world forms of realization. ‐ Slant Magazine
Posted Jul 3, 2016
1.5/4 61% Carnage Park (2016) The film covers The Texas Chainsaw Massacre by way of Rob Zombie, Quentin Tarantino, and Ti West. ‐ Slant Magazine
Posted Jun 27, 2016
0/4 31% Independence Day: Resurgence (2016) The film does nothing satiric or fleetingly parodic with the notion of a world united in the midst of alien annihilation. ‐ Slant Magazine
Posted Jun 24, 2016
2.5/4 97% Hunt for the Wilderpeople (2016) It infuses an outdoorsy survival tale and a coming-of-age story of friendship with Taika Waititi's penchant for distaff flakiness. ‐ Slant Magazine
Posted Jun 22, 2016
3/4 78% The Phenom (2016) Noah Buschel shows that formula can be repurposed to serve empathetic ends without losing its self-actualizing appeal. ‐ Slant Magazine
Posted Jun 20, 2016
4/4 81% Kate Plays Christine (2016) It movingly posits acting as a metaphor for the search for connection, through visceral texture rather than platitude. ‐ Slant Magazine
Posted Jun 18, 2016
3.5/4 77% In a Valley of Violence (2016) The film communicates a sense of pastiche unpredictably giving way to a raw and primordially intimate emotional realm. ‐ Slant Magazine
Posted Jun 16, 2016
3.5/4 93% Lo and Behold, Reveries of the Connected World (2016) It offers no conclusions, routinely alternating between episodes that contrast exhilaration with exploitation and damnation. ‐ Slant Magazine
Posted Jun 15, 2016
1.5/4 45% Clown (2016) Jon Watts does nothing with the scarily funny notion of a respectable professional who suddenly refuses to shuck a party costume. ‐ Slant Magazine
Posted Jun 12, 2016
2.5/4 67% Diary of a Chambermaid (Journal d'une femme de chambre) (2016) The lack of ambiguity reflects Benoît Jacquot's treatment of the text, which is devoid of either formal obsessiveness or a contemporary hook. ‐ Slant Magazine
Posted Jun 8, 2016
2/4 38% Teenage Mutant Ninja Turtles: Out of the Shadows (2016) Its openly mercenary ethos initially scan as a bracing lack of pretense in a market crammed to the gills with insidious faux-sentimentality, but its overstuffed relentlessness proves almost equally tedious. ‐ Slant Magazine
Posted Jun 3, 2016