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
3/4 95% 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 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
Read More | Posted Aug 13, 2018
2.5/4 93% 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 45% 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 89% 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 74% 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 95% 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 81% 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 75% 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 89% 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 96% 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 52% 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 94% 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 53% 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 35% 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 73% 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 82% 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 23% 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
35% 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 86% 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 95% 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
3.5/4 No Score Yet The Great Pretender (2018) This film is a beautiful and beguiling art object.‐ Slant Magazine
Read More | Posted May 1, 2018
1.5/4 29% Racer and the Jailbird (Le Fidèle) (2018) The film comes to concern a selfless martyr before morphing, most absurdly, into a disease-of-the-week tearjerker.‐ Slant Magazine
Read More | Posted May 1, 2018
3/4 50% Ray Meets Helen (2018) After 15 years away from the cinema, Alan Rudolph reminds one of the suggestive potency of his films.‐ Slant Magazine
Read More | Posted Apr 30, 2018
3.5/4 100% Diane (2018) Kent Jones conditions us to expect that Diane will follow its protagonist to her death, with little overt plot to speak off, in a quiet refutation of the three-act contrivances of most cinema.‐ Slant Magazine
Read More | Posted Apr 24, 2018
1.5/4 26% Traffik (2018) Deon Taylor seems uncomfortable with the escalating relentlessness of a siege film, eventually splitting Traffik off into a variety of other tangents and genres, diluting the potent subtext at the film's center.‐ Slant Magazine
Read More | Posted Apr 20, 2018
2/4 34% I Feel Pretty (2018) Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.‐ Slant Magazine
Read More | Posted Apr 18, 2018
2/4 89% Pass Over (2018) If only Spike Lee had further stretched the play's boundaries, allowing his free-associative sensibilities to roam.‐ Slant Magazine
Read More | Posted Apr 18, 2018
2.5/4 46% The Devil and Father Amorth (2018) The Devil and Father Amorth is a flimsy stunt, but in his blunt, slapdash way, William Friedkin locates the intersection existing between religion and pop culture.‐ Slant Magazine
Read More | Posted Apr 17, 2018
1.5/4 73% This Is Our Land (Chez nous) (2018) Throughout the film, Lucas Belvaux sidelines the emotional textures that might complicate all his sermonizing. ‐ Slant Magazine
Read More | Posted Apr 16, 2018
1.5/4 66% Come Sunday (2018) Come Sunday's narrative doesn't have much in the way of emotional stakes, which is exacerbated by the film's vague sense of character and society.‐ Slant Magazine
Read More | Posted Apr 9, 2018
3/4 81% Where Is Kyra? (2018) Terror gradually leaks into the narrative, transforming Where Is Kyra? into a haunting non-traditional thriller. ‐ Slant Magazine
Read More | Posted Apr 4, 2018
2/4 42% Spinning Man (2018) The filmmakers don't bring the main characters' contrasting methods of divining truth into total opposition. ‐ Slant Magazine
Read More | Posted Apr 2, 2018
4/4 100% Personal Problems (2018) Bill Gunn and Ishmael Reed collapse conventional notions of reality, providing simultaneous glimpses into the minds of dozens of characters, lingering on scenes and informing them with confessional intensity.‐ Slant Magazine
Read More | Posted Mar 28, 2018
3.5/4 75% Gemini (2018) With Gemini, Aaron Katz does his cover of the Los Angeles-set murder mystery, homing in on the genre's evocative loneliness. ‐ Slant Magazine
Read More | Posted Mar 27, 2018
2/4 48% The Last Movie Star (2018) Dog Years is a collection of old-fogey clichés, with a narrative that mixes a career retrospective with a road trip.‐ Slant Magazine
Read More | Posted Mar 25, 2018
2.5/4 76% Roxanne Roxanne (2018) One presumes that Michael Lerner's sense of emphasis is meant to humanize Shanté, defining her apart from the fame she achieved, but this stratagem backfires as Roxanne Roxanne mires itself in scenes of speechifying domestic strife.‐ Slant Magazine
Read More | Posted Mar 21, 2018
2/4 71% Beauty and the Dogs (Aala Kaf Ifrit) (2018) The film savors its obviousness and cruelty as badges of honor, reducing itself to a technical polemic. ‐ Slant Magazine
Read More | Posted Mar 20, 2018
1.5/4 49% Flower (2018) Flower is a sentimental work of faux nihilism, pandering to children who're just discovering alienation.‐ Slant Magazine
Read More | Posted Mar 14, 2018
97% Leaning Into the Wind (2018) Certain images are hokey, but Leaning Into the Wind has a wandering, lonely purity. We feel as if we've been allowed to fleetingly swim through Goldsworthy's psyche.‐ Slant Magazine
Read More | Posted Mar 7, 2018