Chuck Bowen Movie 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
3/4 71% Like Me (2018) Like Me is exhilarating because of Robert Mockler's willingness to deviate from his satire so as to surprise himself with seemingly spontaneous emotional textures and tangents. ‐ Slant Magazine
Read More | Posted Jan 21, 2018
3/4 75% Mom and Dad (2018) Writer-director Brian Taylor's Mom and Dad invests a hoary conceit with disturbing and hilarious lunacy. ‐ Slant Magazine
Read More | Posted Jan 16, 2018
2/4 85% The Final Year (2018) For liberals, The Final Year might become a kind of metaphorical marriage video that's watched by divorcees who yearn of that initial hint of paradise. ‐ Slant Magazine
Read More | Posted Jan 15, 2018
1.5/4 22% Proud Mary (2018) Babak Najafi's Proud Mary is a so-so action melodrama with an insulting whiff of generic blaxploitation stylistics.‐ Slant Magazine
Read More | Posted Jan 13, 2018
3/4 No Score Yet Pendular (2017) Júlia Murat's Pendular abounds in exquisite displays of negative space, reminding one that there's few artistic elements as inherently appealing, visually, as a symmetrical image.‐ Slant Magazine
Read More | Posted Jan 10, 2018
2.5/4 93% The Insult (L'insulte) (2018) Ziad Doueiri's film is well acted and staged with periodic liveliness, but its earnestness grows wearying. ‐ Slant Magazine
Read More | Posted Jan 8, 2018
2/4 67% Humor Me (2018) Sam Hoffman respects his characters and evinces curiosity about their lives-and these qualities aren't to be taken for granted. But he isn't willing to disrupt his familiar and tightly structured plot. ‐ Slant Magazine
Read More | Posted Jan 7, 2018
1.5/4 58% The Strange Ones (2018) The film's mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.‐ Slant Magazine
Read More | Posted Dec 31, 2017
2/4 52% The Belko Experiment (2017) The disappointment of The Belko Experiment, then, is that it shifts so abruptly into horror-film terrain that it fails to examine the way this office has brainwashed these characters. ‐ Slant Magazine
Read More | Posted Dec 27, 2017
3/4 58% Before I Wake (2018) Before I Wake's images have a pleasing straightforwardness that parallels the openness of the young protagonist's longing for love.‐ Slant Magazine
Read More | Posted Dec 22, 2017
2/4 78% Film Stars Don't Die in Liverpool (2017) The film shows no interest in the inner workings of a relationship that's defined by unusual circumstances. ‐ Slant Magazine
Read More | Posted Dec 20, 2017
2/4 68% In the Fade (Aus dem Nichts) (2017) In the Fade comes to life when it dramatizes the distraction tactics necessary to excusing terrorism.‐ Slant Magazine
Read More | Posted Dec 18, 2017
1.5/4 73% Hostiles (2018) Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity. ‐ Slant Magazine
Read More | Posted Dec 16, 2017
1.5/4 69% Crooked House (2017) Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot. ‐ Slant Magazine
Read More | Posted Dec 13, 2017
4/4 91% Phantom Thread (2018) The film arrives at a place of qualified peace that cauterizes the emotional wounds of Paul Thomas Anderson's cinema.‐ Slant Magazine
Read More | Posted Dec 7, 2017
2/4 92% The Shape of Water (2017) The Shape of Water has been made with a level of craftsmanship that should be the envy of most filmmakers, but the impudent, unruly streak that so often gives del Toro's films their pulse has been airbrushed away. ‐ Slant Magazine
Read More | Posted Nov 29, 2017
1.5/4 38% 24 Hours to Live (2017) Brian Smrz never contrasts the film's violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.‐ Slant Magazine
Read More | Posted Nov 29, 2017
2/4 78% Antiporno (Anchiporuno) (2017) Sion Sono, allergic to subtlety, is terrified that we won't notice his detonation of Nikkatsu's sexploitation traditions. ‐ Slant Magazine
Read More | Posted Nov 21, 2017
3/4 86% Wet Woman in the Wind (Kaze ni nureta onna) (2017) Shiota understands a pivotal strand of the American screwball comedy; that it's often a male fantasy of relief from male expectations, hence the dominant female charters who sort out the men's neuroses. ‐ Slant Magazine
Read More | Posted Nov 17, 2017
2/4 78% Sweet Virginia (2017) Sweet Virginia doesn't have much of a point, as its characters are reductive variables in an inevitable equation of carnage. ‐ Slant Magazine
Read More | Posted Nov 14, 2017
3.5/4 66% Ichi the Killer (Koroshiya 1) (2001) Unhinged even for Takashi Miike, Ichi the Killer suggests a bloody and ejaculate-stained Rorschach inkblot, reveling in ultraviolence that can be interpreted to flatter any adventurous audience's sensibilities. ‐ Slant Magazine
Read More | Posted Nov 5, 2017
3/4 100% A Gray State (2017) Erik Nelson's film straddles a fine and admirable line between lurid sensationalism and sober humanism.‐ Slant Magazine
Read More | Posted Nov 2, 2017
3/4 85% Blade of the Immortal (Mugen no jûnin) (2017) Blade of the Immortal is a work of robust genre craftsmanship that's informed with a sly sense of self-interrogation.‐ Slant Magazine
Read More | Posted Oct 31, 2017
3.5/4 100% The Work (2017) In its visceral purity, the film drags male toxicity up into the light, offering it as a cure for itself.‐ Slant Magazine
Read More | Posted Oct 23, 2017
2/4 21% Amityville: The Awakening (2017) The Awakening often feels as if it's starting all over again from scene to scene, drinking in Belle as she wanders one shadowy corridor after another.‐ Slant Magazine
Read More | Posted Oct 22, 2017
3/4 88% 1922 (2017) Thomas Jane's dramatization of rage is haunting and shrewdly comical in its overt and ultimately moving über-manliness.‐ Slant Magazine
Read More | Posted Oct 18, 2017
2/4 95% Dealt (2017) Richard Turner is a charismatic subject who demands more than a conventionally entertaining documentary. ‐ Slant Magazine
Read More | Posted Oct 17, 2017
.5/4 32% Leatherface (2017) Alexandre Bustillo and Julien Maury's anonymous work here could've been overseen by any hipster looking to make a mark at Platinum Dunes. ‐ Slant Magazine
Read More | Posted Oct 15, 2017
3/4 89% 78/52: Hitchcock's Shower Scene (2017) 78/52 comes to life when riffing on the psychosexual perversity of Psycho, which changed cinema's relationship with sex and violence.‐ Slant Magazine
Read More | Posted Oct 12, 2017
64% M.F.A. (2017) Director Natalia Leite's ambition and accompanying uncertainty give the film its unruly and resonant energy.‐ Slant Magazine
Read More | Posted Oct 10, 2017
100% The Departure (2017) The film presents patterns in suicidal people while according them humanity, which isn't a small accomplishment.‐ Slant Magazine
Read More | Posted Oct 9, 2017
2/4 87% Blade Runner 2049 (2017) Blade Runner 2049 has been made with impeccable craftsmanship and taste, yet the film is so terrified of disreputability that it renders itself dead from the waist down, unable to derive pleasure even from a theoretically kinky robot three-way.‐ Slant Magazine
Read More | Posted Oct 6, 2017
3/4 68% Paradise (Ray) (2017) Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness. ‐ Slant Magazine
Read More | Posted Oct 3, 2017
2/4 91% Gerald's Game (2017) Mike Flanagan is an un-ironic humanist, which is rare in the horror genre. And this admirable quality trips him up in the film's second half, which pivots on Jessie learning to stand up to diseased masculinity.‐ Slant Magazine
Read More | Posted Sep 25, 2017
2.5/4 98% Lucky (2017) John Carroll Lynch's Lucky is an impeccably acted yet sentimental film that's bashful about said sentimentality.‐ Slant Magazine
Read More | Posted Sep 24, 2017
1.5/4 83% Loving Vincent (2017) Dorota Kobiela and Hugh Welchman's film is driven by an off-putting and oxymoronic fusion of reverence and egotism.‐ Slant Magazine
Read More | Posted Sep 21, 2017
1/4 15% Friend Request (2017) It predictably utilizes Facebook to superficially spit-shine another wanly Americanized J-horror retread.‐ Slant Magazine
Read More | Posted Sep 20, 2017
2.5/4 89% First They Killed My Father (2017) First They Killed My Father is less interested in global politics than in offering an intensely experiential tapestry of war and invasion as witnessed by a child.‐ Slant Magazine
Read More | Posted Sep 19, 2017
3/4 94% On the Beach at Night Alone (Bamui haebyun-eoseo honja) (2017) In the film, Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion.‐ Slant Magazine
Read More | Posted Sep 13, 2017
4/4 96% Ex Libris: New York Public Library (2017) Ex Libris suggests a college course and a guided tour that have been wedded together as a work of prismatic humanist art.‐ Slant Magazine
Read More | Posted Sep 11, 2017
3/4 71% Spoor (Pokot) (2017) Agnieszka Holland and Kasia Adamik's Spoor is a tree-hugging, animal-loving film with a stinger in its tail.‐ Slant Magazine
Read More | Posted Sep 9, 2017
3.5/4 77% The Day After (Geu-hu) (2017) Hong Sang-soo's The Day After homes in on the similarities between job interviews and dates, mining them for a comedy of romantic alienation and autobiographical rumination.‐ Slant Magazine
Read More | Posted Sep 7, 2017
2/4 74% The Limehouse Golem (2017) Initially colorful, the script's lurid and overripe dialogue eventually grinds the film to a halt.‐ Slant Magazine
Read More | Posted Sep 2, 2017
2.5/4 50% Boris Without Beatrice (Boris Sans Béatrice) (2016) The film offers an oxymoronic parable that's been utilized countless times by cinema, in loose reiterations of A Christmas Carol: The protagonist must learn humility after learning that the world revolves around him.‐ Slant Magazine
Read More | Posted Sep 2, 2017
1/4 25% Unlocked (2017) With its dull mixture of indifferently staged exposition and action, it suggests a primitive side-scrolling video game.‐ Slant Magazine
Read More | Posted Aug 28, 2017
2/4 42% Goon: Last of the Enforcers (2017) Goon: Last of the Enforcers faces an uphill climb that's inherent to retreads, as it's almost impossible for the film to honor its predecessor without lapsing into contrived and preordained formula.‐ Slant Magazine
Read More | Posted Aug 27, 2017
2/4 36% Jackals (2017) Though far more elegant in execution than most Rob Zombie-imitating films, Jackals smugly wears its violent tediousness as a badge of honor.‐ Slant Magazine
Read More | Posted Aug 27, 2017
3/4 93% Terminator 2: Judgment Day (1991) Twenty-six years after its release on Independence Day weekend in 1991, it's difficult not to watch Terminator 2: Judgement Day through a scrim of irony. ‐ Slant Magazine
Read More | Posted Aug 21, 2017
1.5/4 56% Lemon (2017) Lemon by Chuck Bowen 1.5 Stars Self-absorption is Janicza Bravo's focus, though--as in other smug and mock-ironic comedies--it's a topic that's less examined than indulged. ‐ Slant Magazine
Read More | Posted Aug 15, 2017
3.5/4 90% Marjorie Prime (2017) Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain. ‐ Slant Magazine
Read More | Posted Aug 14, 2017