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
2.5/4 86% Nightmare Cinema (2019) The anthology justifies Mick Garris's passion for horror, though he ironically proves to be one of his project's liabilities. - Slant Magazine EDIT
Read More | Posted Jun 18, 2019
2.5/4 57% The Quiet One (2019) In the end, the film feels like a sketch that's been offered in place of a portrait. - Slant Magazine EDIT
Read More | Posted Jun 17, 2019
3/4 100% Blue Note Records: Beyond the Notes (2018) The documentary proves that the history and mythology of American jazz is as intoxicating as the music itself. - Slant Magazine EDIT
Read More | Posted Jun 10, 2019
2.5/4 61% The Fall of the American Empire (La chute de l'empire américain) (2019) Despite a few undeniably intense and lurid moments, the film lacks the pulsating fury of a significant genre work. - Slant Magazine EDIT
Read More | Posted May 30, 2019
2/4 97% Deadwood: The Movie (2019) [David] Milch and [Daniel] Minahan fall prey, in a fashion, to the Marvel syndrome, striving so hard to give the audience glimpses of each and every beloved character that they forget to mount a living and breathing, truly present-tense narrative. - Slant Magazine EDIT
Read More | Posted May 28, 2019
3/4 100% Leaving Home, Coming Home: A Portrait of Robert Frank (2019) Beautiful loneliness, as the film suggestively reveals, is a texture that Frank knows all too well. - Slant Magazine EDIT
Read More | Posted May 28, 2019
1/4 22% Perfect (2019) Eddie Alcazar's film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath. - Slant Magazine EDIT
Read More | Posted May 14, 2019
2/4 61% ANIARA (2019) The filmmakers are interested in world building only as a pretext for maintaining a tone of non-contemplative ennui. - Slant Magazine EDIT
Read More | Posted May 13, 2019
2.5/4 11% The Professor (2019) The film goes down easy because it saves the self-improvement clichés for the homestretch. - Slant Magazine EDIT
Read More | Posted May 12, 2019
1.5/4 55% My Son (Mon garçon) (2019) The film seeks to elevate genre clichés by slowing down the speed with which they're typically offered. - Slant Magazine EDIT
Read More | Posted May 7, 2019
2.5/4 90% The Biggest Little Farm (2019) The film is often quite moving in spite of its evasions, suggesting a real-life Charlotte's Web. - Slant Magazine EDIT
Read More | Posted May 6, 2019
1.5/4 55% Extremely Wicked, Shockingly Evil and Vile (2019) The film essentially indulges in the same act of willful distractedness as Ted Bundy's admirers. - Slant Magazine EDIT
Read More | Posted May 1, 2019
3/4 91% Come to Daddy (2019) Ant Timpson's feature debut is a crazed parody of the self-pity inherent in familial resentments. - Slant Magazine EDIT
Read More | Posted Apr 25, 2019
1.5/4 66% Body at Brighton Rock (2019) Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction. - Slant Magazine EDIT
Read More | Posted Apr 25, 2019
3.5/4 97% Carmine Street Guitars (2019) The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge. - Slant Magazine EDIT
Read More | Posted Apr 23, 2019
2.5/4 71% Instant Dreams (2019) While it offers an appealingly nostalgic trance-out, it's often short on detail, especially in terms of Stephen Herchen's struggle to create the instant film technology. - Slant Magazine EDIT
Read More | Posted Apr 17, 2019
2/4 96% Little Woods (2019) Nia DaCosta indulges one of rural quasi-thriller's most tiresome gambits: humorlessness as a mark of high seriousness. - Slant Magazine EDIT
Read More | Posted Apr 15, 2019
2/4 70% Stockholm (2019) Forget Dog Day Afternoon, as the film doesn't even clear the bar set by F. Gary Gray's tense and exciting The Negotiator. - Slant Magazine EDIT
Read More | Posted Apr 9, 2019
2.5/4 77% Suburban Birds (Jiao qu de niao) (2019) The film's refusal to commit to its passing fancies is a highly intentional and eventually tiresome declaration of Qui Sheng's arthouse bona fides. - Slant Magazine EDIT
Read More | Posted Apr 2, 2019
2/4 57% The Highwaymen (2019) Where Bonnie and Clyde is gloriously tragic, The Highwaymen is blunt and anti-climactically savage, fulfilling as well as somewhat critiquing former Texas Ranger Frank Hamer's bloodlust. - Slant Magazine EDIT
Read More | Posted Mar 27, 2019
1.5/4 91% A Vigilante (2019) It conspicuously tries to distance itself from the revenge film's propensity toward florid excess. - Slant Magazine EDIT
Read More | Posted Mar 24, 2019
2.5/4 39% The Dirt (2019) Like most biopics, The Dirt crams so many events into its narrative as to compromise the sense that these are real characters in the here and now. - Slant Magazine EDIT
Read More | Posted Mar 23, 2019
3.5/4 73% Dragged Across Concrete (2019) With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film. - Slant Magazine EDIT
Read More | Posted Mar 20, 2019
2.5/4 100% Buddy (2019) The film is only concerned with dog love, which is occasionally cordoned off by the filmmakers into a sentimental bubble. - Slant Magazine EDIT
Read More | Posted Mar 18, 2019
2/4 85% Ramen Shop (Ramen teh) (2019) Its drawn-out descriptions of culinary traditions and practices are enticing enough, but the same can't be said about the characterizations. - Slant Magazine EDIT
Read More | Posted Mar 18, 2019
2/4 84% Knife + Heart (Un couteau dans le coeur) (2019) The film quickly settles into a holding pattern of repetitive porno-movie hijinks and increasingly listless murder scenes. - Slant Magazine EDIT
Read More | Posted Mar 12, 2019
3.5/4 93% The Eyes of Orson Welles (2018) The film honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer. - Slant Magazine EDIT
Read More | Posted Mar 9, 2019
43% I'm Not Here (2019) Throughout, J.K. Simmons invents the film with a primordial physicality of loneliness and self-loathing. - Slant Magazine EDIT
Read More | Posted Mar 3, 2019
3.5/4 86% The Mystery of Picasso (Le mystère Picasso) (2000) Henri-Georges Clouzot's 1956 documentary reveals art to be a life of many deaths. - Slant Magazine EDIT
Read More | Posted Feb 27, 2019
3/4 88% The Hole in the Ground (2019) The film's unoriginal solution to its mystery is redeemed by the streamlined ambiguity of Lee Cronin's images. - Slant Magazine EDIT
Read More | Posted Feb 25, 2019
1.5/4 92% Paddleton (2019) The film largely plays its scenario with a straight and gooey face, coaxing its actors to indulge their worst tendencies. - Slant Magazine EDIT
Read More | Posted Feb 20, 2019
2.5/4 100% Wrestle (2019) The documentary shines a piercing light on the sorts of people that our governments would too often rather forget. - Slant Magazine EDIT
Read More | Posted Feb 20, 2019
3.5/4 92% High Flying Bird (2019) Steven Soderbergh's film considers modern media as a vehicle for revising white patriarchal capitalism. - Slant Magazine EDIT
Read More | Posted Feb 5, 2019
3/4 90% Legend Of The Demon Cat (Kûkai) (2019) This modern fantasy weds the techniques of silent cinema with CGI to conjure a memorably mythic realm. - Slant Magazine EDIT
Read More | Posted Feb 4, 2019
2/4 63% Velvet Buzzsaw (2019) With its silvery sheen and sexy lure of celebrity actors being naughty, the film recalls the decadent, self-consciously chic art it parodies - Slant Magazine EDIT
Read More | Posted Jan 31, 2019
1.5/4 21% Polar (2019) The film's horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might've been more shocking if it weren't placed so firmly in quotation marks. - Slant Magazine EDIT
Read More | Posted Jan 24, 2019
3/4 89% Tito and the Birds (Tito e os Pássaros) (2018) The Brazilian animated feature offers relief from the impersonal assault of contemporary pop culture. - Slant Magazine EDIT
Read More | Posted Jan 20, 2019
2/4 80% Perfectos Desconocidos (2019) Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement. - Slant Magazine EDIT
Read More | Posted Jan 10, 2019
2/4 38% State Like Sleep (2019) There is a difference between ambiguity and vagueness, which State Like Sleep doesn't always discern. - Slant Magazine EDIT
Read More | Posted Jan 3, 2019
2/4 77% Genesis 2.0 (2019) Genesis 2.0 contains a variety of remarkable images but little actual poetry. - Slant Magazine EDIT
Read More | Posted Jan 3, 2019
2/4 66% Vice (2018) Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt. - Slant Magazine EDIT
Read More | Posted Dec 17, 2018
3/4 74% Clara's Ghost (2018) Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor. - Slant Magazine EDIT
Read More | Posted Dec 4, 2018
3/4 65% Tyrel (2018) The film is invested with a visceral unease that cuts to the everyday heart of living in a fraught cultural mixing pot. - Slant Magazine EDIT
Read More | Posted Dec 3, 2018
1.5/4 93% Sicilian Ghost Story (2018) Sicilian Ghost Story is determinedly unclassifiable, blurring genres with a fervor that grows tedious. - Slant Magazine EDIT
Read More | Posted Nov 21, 2018
3.5/4 99% Amazing Grace (2019) Aretha's blurring of secular and religious music suggests that religion is essentially another form of pop art, with themes and formalistic functions that soothe audiences with catharses. - Slant Magazine EDIT
Read More | Posted Nov 19, 2018
2.5/4 93% Stan & Ollie (2019) At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable. - Slant Magazine EDIT
Read More | Posted Nov 14, 2018
2.5/4 73% Chef Flynn (2018) At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative. - Slant Magazine EDIT
Read More | Posted Nov 7, 2018
3/4 92% They'll Love Me When I'm Dead (2018) Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it. - Slant Magazine EDIT
Read More | Posted Oct 30, 2018
3.5/4 82% The Other Side of the Wind (2018) It isn't a novelty item, but a work of anguished art that's worthy of its creator. - Slant Magazine EDIT
Read More | Posted Oct 30, 2018
3.5/4 75% The Fog (1980) The Fog is pivotal to the cementing of Carpenter's aesthetic. - Slant Magazine EDIT
Read More | Posted Oct 22, 2018