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
.5/4 52% Coming 2 America (2021) Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin. - Slant Magazine EDIT
Read More | Posted Mar 4, 2021
2/4 91% Keep an Eye Out (Au Poste!) (2018) Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism. - Slant Magazine EDIT
Read More | Posted Mar 3, 2021
2.5/4 63% Next Door (2021) Unlike Malcom & Marie, Daniel Brühl's feature-length directorial debut proves to be authentically self-castigating. - Slant Magazine EDIT
Read More | Posted Mar 1, 2021
1.5/4 39% Crisis (2021) Time and again, the film shortchanges the human elements of its stories for drug stats that can be Googled in a matter of seconds. - Slant Magazine EDIT
Read More | Posted Feb 22, 2021
1/4 56% Rifkin's Festival (2020) As Rifkin's Festival drones on, the wastefulness grows offensive in a manner that's unusual even for Woody Allen's misfires. - Slant Magazine EDIT
Read More | Posted Feb 21, 2021
2/4 95% CODA (2021) The film is at its most moving in those rare moments when it's capturing the nourishing bonding ritual among a deaf family. - Slant Magazine EDIT
Read More | Posted Feb 4, 2021
2.5/4 95% Cusp (2021) At its best, the documentary's aura of desolation suggests a verité version of Peter Bogdanovich's The Last Picture Show. - Slant Magazine EDIT
Read More | Posted Feb 2, 2021
1/4 75% Prisoners of the Ghostland (2021) The film is a profound disappointment in part because it feels so overdetermined to live up to Sion Sono and Nicholas Cage's respective brands. - Slant Magazine EDIT
Read More | Posted Feb 2, 2021
3/4 79% In The Earth (2021) Ben Wheatley perversely, cheekily follows characters who flee into the woods implicitly on the run from a virus only to find that nature has more than one way of exacting its wrath. - Slant Magazine EDIT
Read More | Posted Jan 31, 2021
2.5/4 84% On the Count of Three (2021) Jerrod Carmichael is a volatile director and an electric actor, but Ari Katcher and Ryan Welch's screenplay routinely force the characters into formulaic, trivializing scenarios. - Slant Magazine EDIT
Read More | Posted Jan 30, 2021
1.5/4 93% Saint Maud (2020) Rose Glass utilizes a provocative scenario for a vague and deadly serious art exercise. - Slant Magazine EDIT
Read More | Posted Jan 25, 2021
2/4 72% The Mauritanian (2021) Kevin Macdonald's film never captures the spectrum of a life lived in unimaginable extremis. - Slant Magazine EDIT
Read More | Posted Jan 12, 2021
2/4 91% Some Kind of Heaven (2021) The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages. - Slant Magazine EDIT
Read More | Posted Jan 10, 2021
3/4 94% Hunter Hunter (2020) Writer-director Shawn Linden skillfully draws us into the narrative before springing a series of startling traps—of both the narrative and literal variety. - Slant Magazine EDIT
Read More | Posted Dec 13, 2020
1.5/4 88% News of the World (2020) The film sanctimoniously suggests that ignorance or distrust of the news is nothing new, but rather the bedrock of America's formation. - Slant Magazine EDIT
Read More | Posted Dec 11, 2020
1.5/4 29% Wild Mountain Thyme (2020) Jamie Dornan is a stiff whom John Hamm immediately upstages, and this dynamic underscores why the film is so tedious and unsatisfying. - Slant Magazine EDIT
Read More | Posted Dec 9, 2020
3/4 89% Let Them All Talk (2020) Steven Soderbergh's signature formal gamesmanship enlivens what could have been a stodgy scenario. - Slant Magazine EDIT
Read More | Posted Dec 3, 2020
3/4 89% Black Bear (2020) Shot through with darkly existentialist humor, the film finds Aubrey Plaza throwing a gauntlet to filmmakers who have typecast her in the past. - Slant Magazine EDIT
Read More | Posted Nov 29, 2020
1.5/4 81% I'm Your Woman (2020) Julia Hart drains the crime film genre of its macho bluster without replacing it with anything. - Slant Magazine EDIT
Read More | Posted Nov 29, 2020
2/4 32% Superintelligence (2019) The big disappointment of the film is that Melissa McCarthy's performance is all Jekyll and no Hyde. - Slant Magazine EDIT
Read More | Posted Nov 25, 2020
2/4 89% My Psychedelic Love Story (2020) One of the tensions driving the film is a question of its subject's self-awareness. - Slant Magazine EDIT
Read More | Posted Nov 23, 2020
1.5/4 45% Fatman (2020) If it weren't so airless, it'd be easier to appreciate the film as a character study of Santa's midlife woes. - Slant Magazine EDIT
Read More | Posted Nov 9, 2020
3/4 83% Mank (2020) The film's most haunting sequences are self-contained arias in which characters grapple with their powerlessness. - Slant Magazine EDIT
Read More | Posted Nov 6, 2020
2.5/4 92% The Dark and the Wicked (2020) This supernatural fable elevates the subtext of Bryan Bertino's earlier work to the level of text. - Slant Magazine EDIT
Read More | Posted Nov 2, 2020
2.5/4 82% Koko-di Koko-da (2020) Nothing hinders surrealism more than the sense that its creators are actively working for it, though Koko-di Koko-da is nonetheless difficult to dismiss. - Slant Magazine EDIT
Read More | Posted Nov 1, 2020
2/4 75% Jungleland (2020) Director Max Winkler truly seems to believe that he's cutting to the heart of the boulevard of broken dreams. - Slant Magazine EDIT
Read More | Posted Nov 1, 2020
3.5/4 95% Ham on Rye (2020) The film's purposeful archness challenges the sentimentality that marks many a film and real-life ceremony. - Slant Magazine EDIT
Read More | Posted Oct 19, 2020
2.5/4 61% French Exit (2021) Great screwball comedies never sacrificed style for pathos, as they understood these elements to be one and the same. - Slant Magazine EDIT
Read More | Posted Oct 12, 2020
2/4 47% Evil Eye (2020) Elan and Rajeev Dassani's Evil Eye has no set pieces, jokes, or surprises. - Slant Magazine EDIT
Read More | Posted Oct 12, 2020
2.5/4 81% Over the Moon (2020) At its most beguiling, director Glen Keane's animated film Over the Moon mixes the unbridled free-association of playtime with an undercurrent of barbed satire. - Slant Magazine EDIT
Read More | Posted Oct 9, 2020
3/4 89% The Wolf of Snow Hollow (2020) Writer-director Jim Cummings reinvigorates an oft-told tale with personal, thorny preoccupations. - Slant Magazine EDIT
Read More | Posted Oct 5, 2020
2.5/4 43% The Lie (2020) At the heart of Veena Sud's film is the raw material for a potentially ingenious satirical domestic thriller. - Slant Magazine EDIT
Read More | Posted Oct 5, 2020
3.5/4 89% Hopper/Welles (2020) Orson Welles and Dennis Hopper both understand that cinema's inherent fakeness is the wellspring of its importance and its danger. - Slant Magazine EDIT
Read More | Posted Sep 29, 2020
3/4 93% Possessor: Uncut (2020) Though Possessor favors nihilist spectacle to existentialism, Brandon Cronenberg is more interested in exploring emotional dislocation than Christopher Nolan. - Slant Magazine EDIT
Read More | Posted Sep 28, 2020
3.5/4 87% On The Rocks (2020) There are few modern filmmakers who possess Sofia Coppola's gift for capturing how our idealized, movie-fed ideas of "night life" reflect our longing for adventure as well as our loneliness. - Slant Magazine EDIT
Read More | Posted Sep 24, 2020
3/4 92% Another Round (Druk) (2020) Thomas Vinterberg's latest, like The Hunt, is ultimately a parable about breaking a social contract. - Slant Magazine EDIT
Read More | Posted Sep 18, 2020
2.5/4 77% Concrete Cowboy (2020) Concrete Cowboy is stirring when it really dives into specificity. - Slant Magazine EDIT
Read More | Posted Sep 16, 2020
2.5/4 80% I Care a Lot (2021) Throughout, J Blakeson crafts sharp, curt dialogue that makes a fashion statement out of contempt. - Slant Magazine EDIT
Read More | Posted Sep 15, 2020
1/4 64% The Devil All the Time (2020) The one form of suspense that The Devil All the Time authentically generates is curiosity as to what its general point might be. - Slant Magazine EDIT
Read More | Posted Sep 14, 2020
3/4 100% The Woman Who Ran (2020) Hong Sang-so invests the ironic, despairing theme of the film with humor and empathy. - Slant Magazine EDIT
Read More | Posted Sep 13, 2020
3/4 92% Alone (2020) John Hyams's film refutes the frenetic clichés of so modern American thrillers. - Slant Magazine EDIT
Read More | Posted Sep 11, 2020
2.5/4 82% I'm Thinking of Ending Things (2020) The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Charlie Kaufman has thought it to death. - Slant Magazine EDIT
Read More | Posted Aug 28, 2020
2.5/4 82% Bill & Ted Face the Music (2020) The film suggests that Bill and Ted's dreams of stardom, which have evolved into dreams of acceptance and expression, aren't so stupid after all. - Slant Magazine EDIT
Read More | Posted Aug 27, 2020
2.5/4 92% Nomad: In the Footsteps of Bruce Chatwin (2020) A supplementary subject of most of Herzog's work, which it shares with Chatwin's, is a bottomless yearning for wonder. - Slant Magazine EDIT
Read More | Posted Aug 24, 2020
1/4 48% Unhinged (2020) Unhinged is essentially a nihilistic, style-free destructo-rama that's designed to make us feel like shit. - Slant Magazine EDIT
Read More | Posted Aug 18, 2020
3/4 69% Cut Throat City (2020) Cut Throat City is still an ambitious and volatile film, an atmospheric survey of the thankless world of the rich and the damned. - Slant Magazine EDIT
Read More | Posted Aug 17, 2020
2/4 54% Train to Busan Presents: Peninsula (2020) Peninsula feels like the work of an artist who misunderstood his past triumph, squandering his talent for the sake of a pandering, halfhearted encore. - Slant Magazine EDIT
Read More | Posted Aug 17, 2020
3/4 58% Tesla (2020) A profound sense of restlessness and loneliness haunts Michael Almereyda's film, which reinvigorates the biopic genre. - Slant Magazine EDIT
Read More | Posted Aug 14, 2020
2/4 89% Sputnik (2020) Sputnik's third act is a rush of formulaic action meant, perhaps, to compensate for the interminably repetitive and impersonal second act, which is mostly concerned with reinforcing a set of foregone conclusions. - Slant Magazine EDIT
Read More | Posted Aug 9, 2020
2.5/4 83% She Dies Tomorrow (2020) Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness. - Slant Magazine EDIT
Read More | Posted Jul 27, 2020