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
1/4 22% Rupture (2017) It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.‐ Slant Magazine
Read More | Posted Apr 26, 2017
60% Thirst Street (2017) It's a testament to Nathan Silver's keen sense of observation that we don't want the film to turn decisively into thriller terrain, as it might disrupt the wonderfully wry comedy and sexuality.‐ Slant Magazine
Read More | Posted Apr 25, 2017
No Score Yet Flames (2017) Flames grows tougher, weirder, and more ambiguous, casting much of its early cuteness in a starker light.‐ Slant Magazine
Read More | Posted Apr 23, 2017
No Score Yet The Family I Had (2017) Katie Green and Carlye Rubin's film documents the transferrable perversities inherent in familial life.‐ Slant Magazine
Read More | Posted Apr 23, 2017
No Score Yet Dog Years (1998) It's unseemly watching Burt Reynolds, one of the greatest movie stars, beg for sympathy in Adam Rifkin's Dog Years.‐ Slant Magazine
Read More | Posted Apr 23, 2017
3/4 64% Slack Bay (Ma loute) (2017) Bruno Dumont's formalism is presently charged with a spark of simultaneously controlled and spontaneous mystery.‐ Slant Magazine
Read More | Posted Apr 20, 2017
2.5/4 80% Jeremiah Tower: The Last Magnificent (2017) Lydia Tenaglia's direction is occasionally flashy and cluttered, but her empathy for Tower is evocative and poignant.‐ Slant Magazine
Read More | Posted Apr 19, 2017
3.5/4 75% By the Time It Gets Dark (Dao khanong) (2017) [By the Time It Gets Dark ironically grows] more hypnotic, rapturous, and overpowering, discarding conventional narrative to hunt for wild emotional shard.‐ Slant Magazine
Read More | Posted Apr 5, 2017
0/4 16% Queen of the Desert (2017) Throughout Queen of the Desert's narrative, there's no sense of danger, of texture, or even of a rudimentary idea of what's truly driving Gertrude Bell.‐ Slant Magazine
Read More | Posted Apr 4, 2017
2/4 30% Salt and Fire (2017) Salt and Fire is a doodle, suggesting an assemblage of ecological riffs and fantasias that Werner Herzog may have entertained while making Into the Inferno.‐ Slant Magazine
Read More | Posted Apr 2, 2017
1.5/4 30% The Assignment (2017) Walter Hill and Michelle Rodriguez seem to share Frank's confusion over the precise difference between cosmetic and biological reality.‐ Slant Magazine
Read More | Posted Apr 2, 2017
3/4 92% Win It All (2017) Joe Swanberg's Win It All understands addicts in a fashion that's unusual for American cinema.‐ Slant Magazine
Read More | Posted Apr 2, 2017
2.5/4 73% The Blackcoat's Daughter (February) (2017) Oz Perkins exhibits a committed understanding of the cinematic value of silence and of vastly underpopulated compositions.‐ Slant Magazine
Read More | Posted Mar 28, 2017
3/4 85% David Lynch: The Art Life (2017) Throughout the documentary, the undisguised regret and longing of David Lynch's reminiscences are often startling.‐ Slant Magazine
Read More | Posted Mar 26, 2017
2.5/4 95% Prevenge (2017) Alice Lowe evinces a knack for locating society's most awkward pressure points, and a willingness to punch them.‐ Slant Magazine
Read More | Posted Mar 20, 2017
3.5/4 95% I Called Him Morgan (2017) Director Kasper Collins imbues this documentary with an ambiguous, unsettlingly empathetic emotional force.‐ Slant Magazine
Read More | Posted Mar 19, 2017
2/4 88% Frantz (2017) The pacing is so humorless and funereal that it squelches the possibility of heat or conflict arising between the characters.‐ Slant Magazine
Read More | Posted Mar 13, 2017
3.5/4 81% Actor Martinez (2017) Mike Ott and Nathan Silver's Actor Martinez has a ghostly, tremulous quality that's bound to get under the skin. ‐ Slant Magazine
Read More | Posted Mar 6, 2017
3/4 91% Raw (2017) Julia Ducournau exhibits a clinical pitilessness that's reminiscent of the body-horror films of David Cronenberg.‐ Slant Magazine
Read More | Posted Mar 5, 2017
2/4 39% Wolves (2017) Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.‐ Slant Magazine
Read More | Posted Mar 4, 2017
3/4 68% Contemporary Color (2017) The Rosses share David Byrne's interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity. ‐ Slant Magazine
Read More | Posted Feb 27, 2017
3.5/4 88% Apprentice (2017) Boo Junfeng casually reinvigorates the prison drama, boiling its elements down to their primal essence. ‐ Slant Magazine
Read More | Posted Feb 26, 2017
3/4 72% XX (2017) These shorts follow female protagonists as they wrestle with exclusion and implicit social standards that may or may not extend to their male counterparts.‐ Slant Magazine
Read More | Posted Feb 14, 2017
1.5/4 29% In Dubious Battle (2017) Bits of editorializing dialogue throughout James Franco's In Dubious Battle suggest the resonant film that might've been.‐ Slant Magazine
Read More | Posted Feb 13, 2017
2.5/4 75% Stray Bullets (2017) What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.‐ Slant Magazine
Read More | Posted Feb 5, 2017
1/5 6% Rings (2017) Rings is unsure as to whether it's a sequel to the other entries in the series or a contemporary reboot.‐ Slant Magazine
Read More | Posted Feb 3, 2017
2/4 57% War on Everyone (2017) The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique. ‐ Slant Magazine
Read More | Posted Jan 31, 2017
2.5/4 33% Resident Evil: The Final Chapter (2017) The film celebrates the unbridled force of energy for its own sake.‐ Slant Magazine
Read More | Posted Jan 27, 2017
4/4 97% The Salesman (Forushande) (2017) Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.‐ Slant Magazine
Read More | Posted Jan 22, 2017
1/4 57% Trespass Against Us (2017) The efforts of a slumming cast dwarfed by clichés and opportunistically scattershot class pity.‐ Slant Magazine
Read More | Posted Jan 16, 2017
3/4 94% 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
Read More | 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
Read More | 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
Read More | 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
Read More | Posted Dec 19, 2016
2.5/4 93% Fences (2016) Fences is a scathing study of how white society destroys a promising black man's sense of self.‐ Slant Magazine
Read More | 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
Read More | 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
Read More | 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
Read More | Posted Dec 3, 2016
0/4 75% 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
Read More | Posted Nov 27, 2016
3.5/4 97% 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
Read More | 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
Read More | Posted Nov 10, 2016
3/4 100% 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
Read More | 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
Read More | 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
Read More | 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
Read More | Posted Oct 19, 2016
3/4 95% 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
Read More | 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
Read More | 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
Read More | Posted Oct 2, 2016
2.5/4 82% The Rehearsal (2016) A civics lesson in the film tethers a promising tale of artistic toil to the strictures of melodrama. ‐ Slant Magazine
Read More | Posted Sep 27, 2016
3/4 68% 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
Read More | Posted Sep 25, 2016