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
3.5/4 100% In Transit (2015) The film's thematic organization suggests the cinematic equivalent of a short-story collection, with haunting tangents and stray notes of poetry. ‐ Slant Magazine
Read More | Posted Jun 21, 2017
2.5/4 47% The Bad Batch (2017) Ana Lily Amirpour has learned a few lessons from QT about the disreputable joys of blending kitsch and ultraviolence.‐ Slant Magazine
Read More | Posted Jun 18, 2017
2.5/4 89% Lost in Paris (Paris pieds nus) (2017) Lost in Paris abounds in whimsy that, for the most part, isn't irritatingly precious-a feat that's harder to pull off than it appears. ‐ Slant Magazine
Read More | Posted Jun 14, 2017
3.5/4 100% Harmonium (Fuchi ni tatsu) (2017) Throughout Harmonium, writer-director Kôji Fukada works in a rapt and lucid hyper-textural style that suggests a merging of the sensibilities of Alfred Hitchcock and Yasujirô Ozu.‐ Slant Magazine
Read More | Posted Jun 13, 2017
2/4 88% Moka (2017) Frédéric Mermoud's film makes an elaborate pretense of honoring the traditions of the observational procedural. ‐ Slant Magazine
Read More | Posted Jun 12, 2017
2.5/4 94% Night School (2017) The high school diploma is accepted by the film too conveniently as a problem-solving MacGuffin.‐ Slant Magazine
Read More | Posted Jun 7, 2017
3.5/4 100% Dawson City: Frozen Time (2017) Throughout, filmmaker Bill Morrison mixes documentarian detail with an ecstatic sense of poetry. ‐ Slant Magazine
Read More | Posted Jun 6, 2017
2/4 47% Churchill (2017) The film simplifies Winston Churchill's legacy for the dubious purposes of narrative momentum and emotional lift. ‐ Slant Magazine
Read More | Posted Jun 1, 2017
2/4 55% War Machine (2017) Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.‐ Slant Magazine
Read More | Posted May 23, 2017
90% Reservoir Dogs (1992) As QT's first film as both writer and director, Reservoir Dogs indicates a remarkably fully formed cinematic sensibility.‐ Slant Magazine
Read More | Posted May 18, 2017
2.5/4 90% Abacus: Small Enough to Jail (2017) Steve James's film is a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.‐ Slant Magazine
Read More | Posted May 17, 2017
3/4 88% Icaros: A Vision (2017) The film has a calming and inevitable quality, and a leisurely sense of pacing that favors image and sound over narrative propulsion, that slows our own biorhythms, fostering our sensorial empathy with the passengers. ‐ Slant Magazine
Read More | Posted May 17, 2017
2/4 72% The Wizard of Lies (2017) The Wizard of Lies bears less of a resemblance to art than a book report.‐ Slant Magazine
Read More | Posted May 14, 2017
2.5/4 79% Folk Hero & Funny Guy (2017) In the film's best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.‐ Slant Magazine
Read More | Posted May 7, 2017
2/4 79% Chuck (2017) Like its protagonist, Philippe Falardeau's film gets lost in a haze of incidental cacophony.‐ Slant Magazine
Read More | Posted May 2, 2017
1.5/4 51% The Dinner (2017) The film is shrilly, luridly, dully, and unremittingly ugly, preaching to a choir that it also demonizes. ‐ Slant Magazine
Read More | Posted May 1, 2017
1/4 21% 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
67% 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
60% 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 61% 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 81% 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 86% 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 90% 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 90% 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 90% 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 32% 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 35% 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