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
1.5/4 40% 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
Read More | Posted Oct 10, 2018
1.5/4 94% 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
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
Read More | Posted Oct 8, 2018
2/4 72% 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
Read More | Posted Oct 3, 2018
3/4 90% Studio 54 (2018) The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.‐ Slant Magazine
Read More | Posted Oct 2, 2018
1.5/4 68% 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
Read More | Posted Sep 26, 2018
2/4 84% Monsters and Men (2018) Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics. ‐ Slant Magazine
Read More | Posted Sep 24, 2018
3/4 95% 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
Read More | Posted Sep 17, 2018
3/4 83% 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
Read More | Posted Sep 13, 2018
3/4 94% Mandy (2018) Panos Cosmatos's film is a profoundly violent and weirdly moving poem of male alienation. ‐ Slant Magazine
Read More | Posted Sep 10, 2018
4/4 100% Monrovia, Indiana (2018) As always with Frederick Wiseman, it's the quotidian gestures that haunt one in Monrovia, Indiana.‐ Slant Magazine
Read More | Posted Sep 8, 2018
2.5/4 99% 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
Read More | Posted Sep 6, 2018
3.5/4 92% Hotel by the River (2018) 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
Read More | Posted Sep 5, 2018
3/4 71% 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
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
Read More | Posted Aug 31, 2018
3.5/4 98% Shoplifters (Manbiki kazoku) (2018) In Shoplifters, writer-director Hirokazu Kore-eda dramatizes the insidious and relativistic ordinariness of poverty.‐ Slant Magazine
Read More | Posted Aug 30, 2018
2/4 76% 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
Read More | Posted Aug 28, 2018
2.5/4 80% 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
Read More | Posted Aug 20, 2018
2/4 53% 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
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
Read More | Posted Aug 14, 2018
3/4 90% 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
Read More | Posted Aug 13, 2018
2.5/4 91% 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
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
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
Read More | Posted Aug 4, 2018
4/4 90% Gavagai (2018) Rob Tregenza's film is rooted in the communion as well as the sensorial challenges of savoring art.‐ Slant Magazine
Read More | Posted Jul 31, 2018
2/4 92% 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
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
Read More | Posted Jul 25, 2018
3/4 90% 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
Read More | Posted Jul 24, 2018
4/4 96% Wanda (1971) Writer-director-actor Barbara Loden's 1970 feature has a wonderful, hard-won sense of everyday rapture.‐ Slant Magazine
Read More | Posted Jul 19, 2018
2/4 82% Milford Graves Full Mantis (2018) Jake Meginsky's documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.‐ Slant Magazine
Read More | Posted Jul 12, 2018
2.5/4 78% The Night Eats the World (La nuit a dévoré le monde) (2018) Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.‐ Slant Magazine
Read More | Posted Jul 11, 2018
3.5/4 100% Leave No Trace (2018) In Leave No Trace, director Debra Granik continues to refine a style of tranquil intensity. The film's images have a rapt and pared-down power, with emphases that are never quite where you expect them to be. ‐ Slant Magazine
Read More | Posted Jul 4, 2018
2/4 82% Under the Tree (Undir trénu) (2018) Under the Tree boasts the lurid determinism of many acclaimed European films that spit-shine genre-film tropes with chilly compositions and fashionable hopelessness. ‐ Slant Magazine
Read More | Posted Jul 2, 2018
3/4 87% Madeline's Madeline (2018) Josephine Decker is a unique and dazzling artist, most notably for her troubling and daring commitment to everything that drives her characters.‐ Slant Magazine
Read More | Posted Jun 29, 2018
2/4 95% Three Identical Strangers (2018) Director Tim Wardle tells an extraordinary and troubling story without diving below the surface excitement of its twists.‐ Slant Magazine
Read More | Posted Jun 27, 2018
1.5/4 53% Woman Walks Ahead (2018) As a character, Catherine Weldon suffers the same fate as Sitting Bull, having been reduced to a signifier of the filmmakers' retroactive political correctness.‐ Slant Magazine
Read More | Posted Jun 25, 2018
2.5/4 95% Custody (Jusqu'à la garde) (2018) Custody is concerned with the failure of process to discern human need and perversion, and Xavier Legrand rather ironically follows in the footsteps of bureaucracy by reducing people to statistics. ‐ Slant Magazine
Read More | Posted Jun 22, 2018
2.5/4 55% Izzy Gets the F*ck Across Town (2018) Christian Papierniak manages to get a tricky tonal balance more or less right, capturing the false sense of superiority that Izzy projects over her environment without allowing the film itself to revel in said superiority.‐ Slant Magazine
Read More | Posted Jun 17, 2018
2/4 34% The Catcher Was A Spy (2018) As the film proceeds, the appeal of its nostalgia wears thin and you may notice that there isn't much beyond the window dressing.‐ Slant Magazine
Read More | Posted Jun 14, 2018
3/4 77% The King (2018) The King benefits from a quality that's usually a liability in nonfiction films: Its scattershot structure gets at the truth of pop culture as an ineffable chimera that defines much of the world. ‐ Slant Magazine
Read More | Posted Jun 14, 2018
1/4 85% Nancy (2018) There's vanity in its boutique art-film brand of hopelessness, which derives from an unearned fetishizing of "keeping it real."‐ Slant Magazine
Read More | Posted Jun 2, 2018
.5/4 5% 211 (2018) Imagine a blend of Paul Haggis's Crash and Ridley Scott's Black Hawk Down and you're close to evoking 211's patchwork garishness.‐ Slant Magazine
Read More | Posted Jun 2, 2018
3/4 28% Rodin (2018) Jacques Doillon's shrewd ellipses emphasize time as a great and uniting humbler and thief, allowing stray moments to suddenly crystallize unexpressed yearnings. ‐ Slant Magazine
Read More | Posted May 29, 2018
4/4 98% A Fistful of Dollars (Per un Pugno di Dollari) (1964) The climatic bloodbath of A Fistful of Dollars still stings because the film's swaggering braggadocio deliberately fails to prepare us for it. ‐ Slant Magazine
Read More | Posted May 21, 2018
34% Fahrenheit 451 (2018) Fahrenheit 451 represents every culturally bastardizing tendency it pretends to decry.‐ Slant Magazine
Read More | Posted May 16, 2018
3/4 68% On Chesil Beach (2018) The film's imaginative daring springs from its willingness to render repression sexy, even if it will prove to be the seed of a young couple's dissolution. ‐ Slant Magazine
Read More | Posted May 15, 2018
3.5/4 88% Sollers Point (2018) The film is a moving and elusive blend of naturalism and melodrama, less a character study than an analysis of a community. ‐ Slant Magazine
Read More | Posted May 14, 2018
2.5/4 96% Filmworker (2018) Tony Zierra interviews Leon Vitali at length, and he's a commanding camera object with an obvious wellspring of longing and pain.‐ Slant Magazine
Read More | Posted May 9, 2018
2.5/4 94% Beast (2018) The narrative has a gambit that steers Beast into the terrain of a horror film, offsetting the sentimentality of the audience-flattering romance.‐ Slant Magazine
Read More | Posted May 7, 2018
3/4 92% Revenge (2018) Fetishism, parody, and various registers of violence propel a livewire thriller that mines the free-floating hostility existing between genders.‐ Slant Magazine
Read More | Posted May 6, 2018