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 24% 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 88% 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 50% 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 71% 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 61% 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 78% 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 78% 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 73% 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 52% 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
3.5/4 88% Claire's Camera (La caméra de Claire) (2018) Hong Sang-soo's Claire's Camera is governed by a narrative circle that suggests relief as well as entrapment.‐ Slant Magazine
Read More | Posted Mar 7, 2018
3/4 100% Hondros (2018) Chris Hondros sought to reconcile peerless beauty with unfathomable atrocity, and Greg Campbell's film follows suit. ‐ Slant Magazine
Read More | Posted Feb 28, 2018
3/4 84% Mohawk (2018) Ted Geoghegan's Mohawk is a survival-of-the-fittest film that's charged with a thunderous urgency. ‐ Slant Magazine
Read More | Posted Feb 27, 2018
3/4 89% Werewolf (2018) The film achieves a strange irony, as its formal abstractions serve to heighten our emotional connection to the characters.‐ Slant Magazine
Read More | Posted Feb 25, 2018
1/4 15% Mute (2018) MUTE's narrative is a self-consciously odd and stillborn mix of missing-person mystery and rehabilitation parable.‐ Slant Magazine
Read More | Posted Feb 23, 2018
2/4 54% The Young Karl Marx (Le jeune Karl Marx) (2018) The film is ironically gripped by the sort of ideological "vagueness" that Karl Marx dismisses throughout.‐ Slant Magazine
Read More | Posted Feb 18, 2018
3.5/4 94% Loveless (Nelyubov) (2018) One feels in the film's punishing bleakness a yearning for transcendence. ‐ Slant Magazine
Read More | Posted Feb 14, 2018
1.5/4 36% Nostalgia (2018) In the context of screenwriter Alex Ross Perry's other work, the sledgehammer preachiness of Nostalgia almost scans as a failed hipster joke.‐ Slant Magazine
Read More | Posted Feb 11, 2018
2/4 25% The 15:17 to Paris (2018) One misses the prismatic structure of the 15:17 to Paris book, which fuses multiple points of view and which is reduced by Dorothy Blyskal's script to cut-and-pasted bromides. ‐ Slant Magazine
Read More | Posted Feb 10, 2018
2/4 71% Permission (2018) Brian Crano is as skittish as his protagonists are about the particular contours of their dilemma. To put it bluntly, Permission is a sex film without the sex. ‐ Slant Magazine
Read More | Posted Feb 6, 2018
4/4 69% Golden Exits (2018) Alex Ross Perry's characters are shrewd enough to recognize the irrational contours of their lives, which they diagnose and chew over in some of the most inventive, twisty, and richly ironic dialogue in modern American cinema.‐ Slant Magazine
Read More | Posted Feb 4, 2018
3/4 90% On Body and Soul (A Teströl és Lélekröl) (2018) On Body and Soul's fusion of romance, comedy, ultraviolence, and political commentary has the logic of a lucid dream.‐ Slant Magazine
Read More | Posted Jan 29, 2018
3/4 92% The Cage Fighter (2018) The Cage Fighter isn't sentimental about the notion of an aging sports hero who needs one more day in the proverbial sun, recognizing that desire as macho folly. ‐ Slant Magazine
Read More | Posted Jan 28, 2018
3/4 71% Like Me (2018) Like Me is exhilarating because of Robert Mockler's willingness to deviate from his satire so as to surprise himself with seemingly spontaneous emotional textures and tangents. ‐ Slant Magazine
Read More | Posted Jan 21, 2018
3/4 73% Mom and Dad (2018) Writer-director Brian Taylor's Mom and Dad invests a hoary conceit with disturbing and hilarious lunacy. ‐ Slant Magazine
Read More | Posted Jan 16, 2018
2/4 84% The Final Year (2018) For liberals, The Final Year might become a kind of metaphorical marriage video that's watched by divorcees who yearn of that initial hint of paradise. ‐ Slant Magazine
Read More | Posted Jan 15, 2018
1.5/4 28% Proud Mary (2018) Babak Najafi's Proud Mary is a so-so action melodrama with an insulting whiff of generic blaxploitation stylistics.‐ Slant Magazine
Read More | Posted Jan 13, 2018
3/4 No Score Yet Pendular (2017) Júlia Murat's Pendular abounds in exquisite displays of negative space, reminding one that there's few artistic elements as inherently appealing, visually, as a symmetrical image.‐ Slant Magazine
Read More | Posted Jan 10, 2018
2.5/4 89% The Insult (L'insulte) (2018) Ziad Doueiri's film is well acted and staged with periodic liveliness, but its earnestness grows wearying. ‐ Slant Magazine
Read More | Posted Jan 8, 2018
2/4 67% Humor Me (2018) Sam Hoffman respects his characters and evinces curiosity about their lives-and these qualities aren't to be taken for granted. But he isn't willing to disrupt his familiar and tightly structured plot. ‐ Slant Magazine
Read More | Posted Jan 7, 2018
1.5/4 58% The Strange Ones (2018) The film's mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.‐ Slant Magazine
Read More | Posted Dec 31, 2017
2/4 52% The Belko Experiment (2017) The disappointment of The Belko Experiment, then, is that it shifts so abruptly into horror-film terrain that it fails to examine the way this office has brainwashed these characters. ‐ Slant Magazine
Read More | Posted Dec 27, 2017
3/4 61% Before I Wake (2018) Before I Wake's images have a pleasing straightforwardness that parallels the openness of the young protagonist's longing for love.‐ Slant Magazine
Read More | Posted Dec 22, 2017
2/4 80% Film Stars Don't Die in Liverpool (2017) The film shows no interest in the inner workings of a relationship that's defined by unusual circumstances. ‐ Slant Magazine
Read More | Posted Dec 20, 2017
2/4 74% In the Fade (Aus dem Nichts) (2017) In the Fade comes to life when it dramatizes the distraction tactics necessary to excusing terrorism.‐ Slant Magazine
Read More | Posted Dec 18, 2017
1.5/4 73% Hostiles (2018) Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity. ‐ Slant Magazine
Read More | Posted Dec 16, 2017
1.5/4 59% Crooked House (2017) Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot. ‐ Slant Magazine
Read More | Posted Dec 13, 2017
4/4 91% Phantom Thread (2018) The film arrives at a place of qualified peace that cauterizes the emotional wounds of Paul Thomas Anderson's cinema.‐ Slant Magazine
Read More | Posted Dec 7, 2017
2/4 92% The Shape of Water (2017) The Shape of Water has been made with a level of craftsmanship that should be the envy of most filmmakers, but the impudent, unruly streak that so often gives del Toro's films their pulse has been airbrushed away. ‐ Slant Magazine
Read More | Posted Nov 29, 2017
1.5/4 41% 24 Hours to Live (2017) Brian Smrz never contrasts the film's violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.‐ Slant Magazine
Read More | Posted Nov 29, 2017
2/4 78% Antiporno (Anchiporuno) (2017) Sion Sono, allergic to subtlety, is terrified that we won't notice his detonation of Nikkatsu's sexploitation traditions. ‐ Slant Magazine
Read More | Posted Nov 21, 2017
3/4 86% Wet Woman in the Wind (Kaze ni nureta onna) (2017) Shiota understands a pivotal strand of the American screwball comedy; that it's often a male fantasy of relief from male expectations, hence the dominant female charters who sort out the men's neuroses. ‐ Slant Magazine
Read More | Posted Nov 17, 2017
2/4 78% Sweet Virginia (2017) Sweet Virginia doesn't have much of a point, as its characters are reductive variables in an inevitable equation of carnage. ‐ Slant Magazine
Read More | Posted Nov 14, 2017
3.5/4 64% Ichi the Killer (Koroshiya 1) (2001) Unhinged even for Takashi Miike, Ichi the Killer suggests a bloody and ejaculate-stained Rorschach inkblot, reveling in ultraviolence that can be interpreted to flatter any adventurous audience's sensibilities. ‐ Slant Magazine
Read More | Posted Nov 5, 2017
3/4 100% A Gray State (2017) Erik Nelson's film straddles a fine and admirable line between lurid sensationalism and sober humanism.‐ Slant Magazine
Read More | Posted Nov 2, 2017