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

T-Meter Title | Year Review
1.5/4 93% Paddleton (2019) The film largely plays its scenario with a straight and gooey face, coaxing its actors to indulge their worst tendencies. - Slant Magazine EDIT
Read More | Posted Feb 20, 2019
2.5/4 100% Wrestle (2018) The documentary shines a piercing light on the sorts of people that our governments would too often rather forget. - Slant Magazine EDIT
Read More | Posted Feb 20, 2019
3.5/4 93% High Flying Bird (2019) Steven Soderbergh's film considers modern media as a vehicle for revising white patriarchal capitalism. - Slant Magazine EDIT
Read More | Posted Feb 5, 2019
3/4 89% Legend Of The Demon Cat (Kûkai) (2019) This modern fantasy weds the techniques of silent cinema with CGI to conjure a memorably mythic realm. - Slant Magazine EDIT
Read More | Posted Feb 4, 2019
2/4 65% Velvet Buzzsaw (2019) With its silvery sheen and sexy lure of celebrity actors being naughty, the film recalls the decadent, self-consciously chic art it parodies - Slant Magazine EDIT
Read More | Posted Jan 31, 2019
1.5/4 26% Polar (2019) The film's horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might've been more shocking if it weren't placed so firmly in quotation marks. - Slant Magazine EDIT
Read More | Posted Jan 24, 2019
3/4 92% Tito and the Birds (Tito e os Pássaros) (2018) The Brazilian animated feature offers relief from the impersonal assault of contemporary pop culture. - Slant Magazine EDIT
Read More | Posted Jan 20, 2019
2/4 83% Perfectos Desconocidos (2019) Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement. - Slant Magazine EDIT
Read More | Posted Jan 10, 2019
2/4 38% State Like Sleep (2019) There is a difference between ambiguity and vagueness, which State Like Sleep doesn't always discern. - Slant Magazine EDIT
Read More | Posted Jan 3, 2019
2/4 75% Genesis 2.0 (2019) Genesis 2.0 contains a variety of remarkable images but little actual poetry. - Slant Magazine EDIT
Read More | Posted Jan 3, 2019
2/4 66% Vice (2018) Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt. - Slant Magazine EDIT
Read More | Posted Dec 17, 2018
3/4 74% Clara's Ghost (2018) Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor. - Slant Magazine EDIT
Read More | Posted Dec 4, 2018
3/4 63% Tyrel (2018) The film is invested with a visceral unease that cuts to the everyday heart of living in a fraught cultural mixing pot. - Slant Magazine EDIT
Read More | Posted Dec 3, 2018
1.5/4 93% Sicilian Ghost Story (2018) Sicilian Ghost Story is determinedly unclassifiable, blurring genres with a fervor that grows tedious. - Slant Magazine EDIT
Read More | Posted Nov 21, 2018
3.5/4 96% Amazing Grace (2018) Aretha's blurring of secular and religious music suggests that religion is essentially another form of pop art, with themes and formalistic functions that soothe audiences with catharses. - Slant Magazine EDIT
Read More | Posted Nov 19, 2018
2.5/4 93% Stan & Ollie (2019) At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable. - Slant Magazine EDIT
Read More | Posted Nov 14, 2018
2.5/4 72% Chef Flynn (2018) At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative. - Slant Magazine EDIT
Read More | Posted Nov 7, 2018
3/4 92% They'll Love Me When I'm Dead (2018) Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it. - Slant Magazine EDIT
Read More | Posted Oct 30, 2018
3.5/4 83% The Other Side of the Wind (2018) It isn't a novelty item, but a work of anguished art that's worthy of its creator. - Slant Magazine EDIT
Read More | Posted Oct 30, 2018
3.5/4 75% The Fog (1980) The Fog is pivotal to the cementing of Carpenter's aesthetic. - Slant Magazine EDIT
Read More | Posted Oct 22, 2018
3/4 91% The Price of Everything (2018) The film understands that money is a defining element of art-making, whether or not we wish to admit it. - Slant Magazine EDIT
Read More | Posted Oct 19, 2018
4/4 96% Bisbee '17 (2018) The film's epic canvas fuses a procedural documentary with tableaux that wouldn't be out of place in a horror western. - Slant Magazine EDIT
Read More | Posted Oct 19, 2018
1.5/4 52% An Evening with Beverly Luff Linn (2018) The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random. - Slant Magazine EDIT
Read More | Posted Oct 10, 2018
1.5/4 89% The Sentence (2018) Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor. - Slant Magazine EDIT
Read More | Posted Oct 9, 2018
3/4 88% Barbara (2017) In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost. - Slant Magazine EDIT
Read More | Posted Oct 8, 2018
2/4 70% The Happy Prince (2018) For every haunting sequence in The Happy Prince, there's five that redundantly wallow in Wilde's misery, which is Everett's point, but it becomes wearisome. - Slant Magazine EDIT
Read More | Posted Oct 3, 2018
3/4 89% Studio 54 (2018) The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies. - Slant Magazine EDIT
Read More | Posted Oct 2, 2018
1.5/4 71% Hold the Dark (2018) Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem. - Slant Magazine EDIT
Read More | Posted Sep 26, 2018
2/4 86% Monsters and Men (2018) Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics. - Slant Magazine EDIT
Read More | Posted Sep 24, 2018
3/4 96% Garry Winogrand: All Things are Photographable (2018) Sasha Waters Freyer forges a poignant portrait of an artist attempting to transcend the limitations of his art by refusing to see the process through. - Slant Magazine EDIT
Read More | Posted Sep 17, 2018
3/4 86% The Land of Steady Habits (2018) Nicole Holofcener's The Land of Steady Habits often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria. - Slant Magazine EDIT
Read More | Posted Sep 13, 2018
3/4 91% Mandy (2018) Panos Cosmatos's film is a profoundly violent and weirdly moving poem of male alienation. - Slant Magazine EDIT
Read More | Posted Sep 10, 2018
4/4 84% Monrovia, Indiana (2018) As always with Frederick Wiseman, it's the quotidian gestures that haunt one in Monrovia, Indiana. - Slant Magazine EDIT
Read More | Posted Sep 8, 2018
2.5/4 95% Blaze (2018) Blaze's first hour is a free-floating, refreshingly exposition-free exploration of an aloof talent who's never quite there. - Slant Magazine EDIT
Read More | Posted Sep 6, 2018
3.5/4 95% Hotel by the River (2019) A story of a poet, Hotel by the River comes to resemble a poetry collection itself, abounding in emotional currents and grace notes that are bracingly allowed to hang, free of reductive explication. - Slant Magazine EDIT
Read More | Posted Sep 5, 2018
3/4 67% Asako I & II (Netemo sametemo) (2018) Like Happy Hour, Asako I & II is a parable of the grace—and, yes, happiness—that spring from resignation. - Slant Magazine EDIT
Read More | Posted Sep 1, 2018
3.5/4 100% Grass (2018) With Grass, Hong has taken the familiar elements of his work and exploded them, fashioning a kind of lonely cinematic cubism. - Slant Magazine EDIT
Read More | Posted Aug 31, 2018
3.5/4 99% Shoplifters (Manbiki kazoku) (2018) In Shoplifters, writer-director Hirokazu Kore-eda dramatizes the insidious and relativistic ordinariness of poverty. - Slant Magazine EDIT
Read More | Posted Aug 30, 2018
2/4 75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) Hélène Cattet and Bruno Forzani get so lost in their catalogue of fetishes that they lose grasp of the snap and tension that drive even a mediocre heist narrative. - Slant Magazine EDIT
Read More | Posted Aug 28, 2018
2.5/4 81% What Keeps You Alive (2018) If Hannah Emily Anderson's performance was as fully imagined as Brittany Allen's, then What Keeps You Alive might have attained the emotional dimensions of a robust psychodrama. - Slant Magazine EDIT
Read More | Posted Aug 20, 2018
2/4 52% Papillon (2018) To contrast Franklin J. Schaffner's 1973 Papillon with its remake is to underscore certain differences between commercial films of two distinct generations. - Slant Magazine EDIT
Read More | Posted Aug 20, 2018
3/4 100% Minding the Gap (2018) Throughout Minding the Gap, Bing Liu masterfully uses his insider's access, managing to stay inside and outside of the material at once. - Slant Magazine EDIT
Read More | Posted Aug 14, 2018
3/4 91% We the Animals (2018) In We the Animals, director Jeremiah Zagar sustains a tone of wounded nostalgia, fashioning a formalism that appears to exist simultaneously in the past and present. - Slant Magazine EDIT
Read More | Posted Aug 13, 2018
2.5/4 92% A Prayer Before Dawn (2018) While A Prayer Before Dawn's final scene achieves a sense of emotional interiority that eludes much of the rest of the film, it's too little too late. - Slant Magazine EDIT
Read More | Posted Aug 8, 2018
3/4 50% Elizabeth Harvest (2018) Sebastian Gutierrez's film creates an incestuous atmosphere that's reminiscent of the stories of Edgar Allan Poe. - Slant Magazine EDIT
Read More | Posted Aug 6, 2018
4/4 83% The Age of Innocence (1993) Following Wharton's example, Scorsese accepts The Age of Innocence's flamboyantly wealthy and corrupt characters as they are without indulging in fashionably retrospective editorializing. - Slant Magazine EDIT
Read More | Posted Aug 4, 2018
4/4 92% Gavagai (2018) Rob Tregenza's film is rooted in the communion as well as the sensorial challenges of savoring art. - Slant Magazine EDIT
Read More | Posted Jul 31, 2018
2/4 94% No Date, No Signature (Bedoune Tarikh, Bedoune Emza) (2018) Vahid Jalilvand's film is so worked out that you know that every nuance is pointed and intentional. - Slant Magazine EDIT
Read More | Posted Jul 30, 2018
2/4 84% The Captain (Der Hauptmann) (2018) In one fashion, Robert Schwentke proves to be too complicit with his protagonist, regarding evil and human banality as stimulation. - Slant Magazine EDIT
Read More | Posted Jul 25, 2018
3/4 89% Scotty and the Secret History of Hollywood (2018) The film poignantly reveals that the secret history of Hollywood is really an alternate history of America. - Slant Magazine EDIT
Read More | Posted Jul 24, 2018