Chuck Bowen
Chuck Bowen's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
Slant Magazine
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Evil Dead Rise (2023) |
Lee Cronin serves up considerable gore with monotonous, po-faced earnestness. - Slant Magazine
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| Posted Apr 22, 2023
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Passion (2008) |
Passion already finds Hamaguchi Ryûsuke to be a superb orchestrator of moods and tones. - Slant Magazine
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| Posted Apr 09, 2023
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Sick of Myself (2022) |
Kristoffer Borgli is unduly proud of himself for concocting his unlikable protagonists, and he marinates in their repulsive self-absorption. - Slant Magazine
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| Posted Apr 09, 2023
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Dazed and Confused (1993) |
The meaninglessness of it all is the meaning of the film. - Slant Magazine
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| Posted Mar 20, 2023
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In Water (2023) |
Connoisseurs of Hong Sang-soo’s cinema will no doubt be fascinated by the transcendent minimalism of the film, which suggests Picasso knocking off a sketch on a piece of paper in a matter of seconds. - Slant Magazine
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| Posted Feb 26, 2023
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Marlowe (2022) |
Neil Jordan’s Marlowe is an homage so riddled with noir clichés that one may initially take it for a genre parody, except that the jokes never arrive. - Slant Magazine
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| Posted Feb 13, 2023
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The Outwaters (2022) |
With The Outwaters, the found-footage horror film has unexpectedly found its trippy, unmooring, ultraviolent answer to the cosmic horror of H.P. Lovecraft and the free-associative barbarity of A Page of Madness. - Slant Magazine
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| Posted Feb 03, 2023
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Talk to Me (2023) |
The film has a free-floating, nearly intangible sense of unease that greatly serves it. - Slant Magazine
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| Posted Jan 27, 2023
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Fair Play (2023) |
As confident as writer-director Chloe Domont is with high-finance gamesmanship, she’s sharper as a dramatist of premarital decay among millennials. - Slant Magazine
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| Posted Jan 25, 2023
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birth/rebirth (2023) |
Birth/Rebirth serves as a perverse correction, recalibrating decades of dilution to reemphasize the moral weight and emotional anguish at the heart of Shelley’s novel. - Slant Magazine
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| Posted Jan 23, 2023
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Skinamarink (2022) |
Skinamarink is confidently made, and certain upside-down images are especially creepy, but its spell is broken by its sheer, ungodly slowness, which springs from a paucity of ideas. - Slant Magazine
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| Posted Jan 08, 2023
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Cooley High (1975) |
Michael Schultz’s 1975 film Cooley High is the rare teenage remembrance to consider the role of money in everyday life. - Slant Magazine
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| Posted Dec 21, 2022
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Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb (2022) |
Lizzie Gottlieb’s documentary is a celebration of a profound, dying privilege. - Slant Magazine
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| Posted Dec 19, 2022
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2nd Chance (2022) |
2nd Chance a terrific American tall tale as well as a cautionary tale and a ripping good yarn.
- Slant Magazine
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| Posted Nov 29, 2022
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The Limey (1999) |
The Limey is one of many American films released in 1999 that seemed to be saying goodbye to the rebel spirit that allowed indies and mainstream movies to comingle as they had in the ’70s. - Slant Magazine
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| Posted Oct 24, 2022
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Raymond & Ray (2022) |
Rodrigo García’s film is fastidious, tidy, and lifeless, with every obligatory gesture in its place.
- Slant Magazine
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| Posted Oct 18, 2022
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Master Gardener (2022) |
For Paul Schrader, even a film called Master Gardener ultimately pivots on a man having to take out the macho trash. - Slant Magazine
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| Posted Sep 29, 2022
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Walk Up (2022) |
With each new film, Hong Sang-soo’s work becomes more subtextual, more fraught, even funnier. - Slant Magazine
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| Posted Sep 28, 2022
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The Raven (1943) |
Clouzot has devised Le Corbeau like a steel trap, suggesting a series of minute, interlocking gestures that can ripple into actions of profound consequence at any moment. - Slant Magazine
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| Posted Sep 15, 2022
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EO (2022) |
EO feels freed of plot, free of expectation, driven only by the need to honor its own internal, poetic drive. - Slant Magazine
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| Posted Sep 12, 2022
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Decision to Leave (2022) |
Throughout, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few cases poetry wins out. - Slant Magazine
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| Posted Sep 11, 2022
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Prey (2022) |
Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator. - Slant Magazine
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| Posted Aug 03, 2022
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I Love My Dad (2022) |
For both better and worse, I Love My Dad feels less like a film than an exorcism. - Slant Magazine
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| Posted Jul 31, 2022
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Vengeance (2022) |
Though its lack of emotional escalation could be read as intentional, Vengeance is ground to a repetitive halt by B.J. Novak’s preaching. - Slant Magazine
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| Posted Jul 24, 2022
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God Told Me To (1976) |
God Told Me To is a film of contrasts, most notably between queer and straight, male and female, righteousness and blasphemy, heaven and hell, hope and hopelessness, repression and progression, and law and anarchy. - Slant Magazine
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| Posted Jul 23, 2022
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This Much I Know To Be True (2022) |
The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society. - Slant Magazine
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| Posted Jul 05, 2022
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Out of Sight (1998) |
The film is a lark that develops an emotional undertow. - Slant Magazine
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| Posted Jun 30, 2022
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Mad God (2021) |
Mad God offers a dense cornucopia of genre-fueled outrageousness that’s gradually united by a concern with cycles of warfare. - Slant Magazine
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| Posted Jun 06, 2022
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Double Indemnity (1944) |
Double Indemnity is a ruthless and poignant cornucopia of the details that command our lives. - Slant Magazine
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| Posted May 26, 2022
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Deception (2021) |
With his Deception, Arnaud Desplechin renders one of a great author’s slighter works titanic by comparison.
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| Posted May 12, 2022
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The Cathedral (2022) |
The Cathedral is a deeply humanist film, but its also a relentlessly bleak exorcism of a familys intolerances. - Slant Magazine
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| Posted Apr 22, 2022
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Deep Water (2022) |
After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways. - Slant Magazine
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| Posted Mar 16, 2022
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Cyrano (2021) |
As is typically the case with Joe Wright's films, one is left both exhilarated and exhausted, wishing that he had been more interested in the material at the center of his house of flourishes. - Slant Magazine
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| Posted Dec 15, 2021
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Nightmare Alley (2021) |
Guillermo del Toro reimagines an agonizing, still shocking noir as an exhibit in a wax museum. - Slant Magazine
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| Posted Dec 07, 2021
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The Unforgivable (2021) |
The Unforgivable is devoid of all textures and emotions that don't readily affirm the film's rigid worldview of redemption. - Slant Magazine
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| Posted Nov 24, 2021
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Zeros and Ones (2021) |
Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness. - Slant Magazine
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| Posted Nov 17, 2021
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The Beta Test (2021) |
Underneath the film's seeming casualness is an astute portrait of alcoholism, as well as a knowing glimpse of how micro tensions affect macro power plays, from pissing contests between men to sexual violations. - Slant Magazine
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| Posted Nov 02, 2021
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Broadcast Signal Intrusion (2021) |
Jacob Gentry's film punches through all the layers of homage to arrive at a place of true horror. - Slant Magazine
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| Posted Oct 21, 2021
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Freeland (2020) |
Writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that's subtle and rich in innuendo. - Slant Magazine
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| Posted Oct 12, 2021
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Parallel Mothers (2021) |
The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same. - Slant Magazine
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| Posted Oct 11, 2021
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Theatre of Blood (1973) |
The film attests to the freedom Vincent Price enjoyed in playing with his image, pushing potentially ludicrous concepts into realms of poetic feeling and psychological complexity. - Slant Magazine
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| Posted Sep 27, 2021
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The Tomb of Ligeia (1964) |
The film attests to the freedom Vincent Price enjoyed in playing with his image, pushing potentially ludicrous concepts into realms of poetic feeling and psychological complexity. - Slant Magazine
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| Posted Sep 27, 2021
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Cry Macho (2021) |
The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly religious. - Slant Magazine
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| Posted Sep 21, 2021
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Procession (2021) |
Robert Greene's gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process. - Slant Magazine
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| Posted Sep 17, 2021
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Wife of a Spy (2020) |
Wife of a Spy could use a streak of live-wire crudeness, a bit of melodrama delivered in an unselfconscious manner. - Slant Magazine
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| Posted Sep 11, 2021
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The Card Counter (2020) |
Paul Schrader's film grows more heated and crazed as the chaos of the past bleeds into a repressed present. - Slant Magazine
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| Posted Sep 02, 2021
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Mosquito State (2020) |
The film hauntingly suggests that a man's most rational move in a rigged society is to fade away into the ecosystem. - Slant Magazine
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| Posted Aug 23, 2021
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Demonic (2021) |
Like District 9, the film is a genre outing with big ideas that's more committed to the power of arsenals and pyrotechnics. - Slant Magazine
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| Posted Aug 16, 2021
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Lucky (2011) |
Lucky, unfortunately, is terrible: overbearing, obnoxious, and boring. - Slant Magazine
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| Posted Aug 09, 2021
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Whirlybird (2020) |
At its best, Matt Yoka's documentary vividly captures how personal demons shape creative output. - Slant Magazine
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| Posted Aug 05, 2021
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