Anton Bitel

Anton Bitel

Agrees with the Tomatometer 75% of the time.

Biography:
Dr Anton Bitel was born in Australia in 1970, and has lived in the UK since 1989. Now a father of twins, occasional academic and full-time caffeine junkie, he compensates for a general sense of disgruntlement by moping about in darkened cinemas watching other people's joys and sorrows. He seeks elusive thrills from all genres (even romantic comedy), but tends to prefer anything extreme, odd, miserable or tawdry. He is at home with horror, 'arthouse', the avant garde and Oriental cinema. Anton currently freelances for Film4, musicOMH (where he is a staff writer), Eye for Film, Film International and Little White Lies, and was for three years one of the principal contributors to the now semi-defunct Movie Gazette.
Favorites:
Eraserhead Brazil Spring, Summer, Autumn, Winter...and Spring Apocalypse Now The Texas Chainsaw Massacre (1974) M. Houlot's Holiday Ichi the Killer Last Year in Marienbad Batman (1966) Synecdoche, New York
Publications:
Cinetalk , Daily Info , Eye for Film , Film Divider , Film International , Film4 , FilmLand Empire , Grolsch Film Works , Little White Lies , Movie Gazette , MovieScope , musicOMH.com , New Empress Magazine , Scene 360 , Sight and Sound
Critics' Group:
London Film Critics Circle, Online Film Critics Society
Total Reviews:
1908
Total QuickRatings:
1
Location:
Oxford, UK

Listing Of All Reviews & Articles

Showing 1 - 50 of 1908
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Rating T-Meter Title | Year Add Date
88% Kraftidioten (In Order of Disappearance) " Moland slyly comments on the shifting borders of Norwegian identity." — Film4
Posted Sep 12, 2014
70% The Boxtrolls (2014) " Elegantly stylised stop-motion animation and cheesy humour sweeten rich subtexts tackling class entrenchment, manipulative demagoguery and even the Holocaust." — Film4
Posted Sep 12, 2014
89% Creep " a very fresh, hilariously mean-spirited take on both the 'first-person' format and the stalk-and-slash subgenre - and a lo-fi mumblegore treasure that any discerning, or just unhealthily obsessive, cinephile will want to add to their collection." — FilmLand Empire
Posted Sep 6, 2014
—— Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau " a making-of for a film that never got made - or at least never as intended.... The anecdotes here are frank and fascinating, and there are few raconteurs more mesmerising than Stanley." — Grolsch Film Works
Posted Sep 4, 2014
—— Another " explicitly acknowledging Argento in its closing credits, Another turns out not to be the Suspiria rip-off that horror fans have been dreading, but a dynamic reimagining better than anything in their wildest dreams." — FilmLand Empire
Posted Sep 2, 2014
27% Deliver Us from Evil (2014) " here evil comes from the Middle East, but is ultimately dispelled by American goodness, in a mapping of post-millennial geopolitics onto a simplistic Manichaean worldview." — FilmLand Empire
Posted Sep 2, 2014
—— River Of Fundament " Though certainly challenging in its exuberant obscurity, its forbidding length and its transgressive offence, River of Fundament represents ambitious, uncompromising art of the highest ordure. " — FilmLand Empire
Posted Sep 2, 2014
86% Cold in July (2014) " Cold In July goes way way back - back to the year in which it is set and was written, but also back further to America's heritage of the wild west when men were men and a man's gotta do what a man's gotta do, with justice a mere shadow." — FilmLand Empire
Posted Sep 2, 2014
97% If.... (1968) " Shot a few months before the student riots in Paris of May 1968, if.... captures the rebelliousness and anti-authoritarianism of the time, while raising troubling questions about where it might all be leading, and what risked being lost." — FilmLand Empire
Posted Sep 2, 2014
86% Night Moves (2014) " if a love of nature is (maybe) the original motor of Josh's actions, human nature, in all its shadowy complexity, is very much the film's focus." — Eye for Film
Posted Sep 1, 2014
—— The Harvest " in part a sensitive study of parental desperation - and children's resilience - in the face of death, and in part a psychological thriller (with fairytale elements) told from a girl's and boy's mature yet only half-comprehending perspective. " — Grolsch Film Works
Posted Sep 1, 2014
80% Faults (2015) " What starts as a closely observed, blackly funny study of flawed character ends as a sly confidence trick movie that... trusts its viewers to put all the pieces together and work out how the impossible is in fact possible. " — Grolsch Film Works
Posted Sep 1, 2014
86% Doc Of The Dead " as a whistle-stop tour of zombieland, Doc of the Dead covers a lot of ground - and if it is not the first exegesis of the undead, you can be sure it will not be the last either. " — Grolsch Film Works
Posted Sep 1, 2014
—— Blood Moon " Like a postcolonial Navaho warrior exiled from his people and trapped in a silly costume, this film is unable to recover from its own identity crisis, and merely goes through the genre motions. " — Grolsch Film Works
Posted Sep 1, 2014
—— Mamula (Nymph) " perfunctory dialogue, poor pacing, and cardboard cut-out (not to mention annoying) characters. Still, the underwater photography is excellent." — Grolsch Film Works
Posted Sep 1, 2014
—— La casa del fin de los tiempos (The House of the End Times) " The great intricacy of its paradoxical plotting only really becomes apparent in retrospect, and will have you mentally revisiting its rooms and corridors for some time afterwards... replays in the head much better than it plays on the screen." — Grolsch Film Works
Posted Sep 1, 2014
—— The Expedition " Normally with found footage, a delicate balance must be struck between crazy genre developments and the kind of banality that... creates the illusion of realism. Here however, for an intolerably long time there seems to be nothing but banality" — Grolsch Film Works
Posted Sep 1, 2014
100% The Visitor (1979) " Lysergically painted-and-composited backgrounds & lo-fi light shows bring a striking if cheesy otherworldliness to the film's alien elements; and the film's cosmic duels are carried out neither with fire and brimstone nor laser guns.... " — Grolsch Film Works
Posted Sep 1, 2014
—— Der Samurai " A queer retelling of the werewolf myth, The Samurai reveals the dark side of a character who comes out in the light of the full moon wearing women's clothing rather than an animal's skin. " — Grolsch Film Works
Posted Aug 30, 2014
84% Coherence (2014) " Plotted out with a dizzying attention to spot-the-difference detail, [it] remains a film concerned with questions of ethics no less than of physics, as it shows how we are all constructed, compromised and confined in the image of our moral choices." — Grolsch Film Works
Posted Aug 30, 2014
—— I Survived a Zombie Holocaust " Broadly (in every sense) funny, and with a good heart to match all the blood and guts, I Survived A Zombie Holocaust is an infectiously self-consuming artifact from the land of the haka - not just a(nother) RomZomCom, but also a savvy 'meta weta'." — Grolsch Film Works
Posted Aug 30, 2014
40% Life After Beth (2014) " as Baena brings the plot to its thoroughly surreal climax, there is a blurring of the banal and the apocalyptic that is all his own. Pain, loss and eventual recovery may be the theme, but this is good grief. " — Grolsch Film Works
Posted Aug 30, 2014
100% The Babadook (2014) " it tells an unnerving, tragic tale of grief and guilt, of maternity and madness, of love and loss, while always sublimating its subtext to cellar or closet... it is beautifully told, giving untold horrors a true, anguished face." — Grolsch Film Works
Posted Aug 30, 2014
—— The Sleeping Room " Once the possessions and ghostly manifestations have fully kicked in, it all becomes a little Punch and Judy ... but The Sleeping Room works best as an incestuous love letter to Brighton and the town's darker, ever-present history. " — Grolsch Film Works
Posted Aug 30, 2014
34% Stage Fright (2014) " Stage Fright mashes the gory whodunnit set-pieces of every slasher you've ever seen with the let's-put-on-a-show glee of, well, Glee, while throwing in easter-egg allusions to, inter alia, Psycho and Carrie. " — Grolsch Film Works
Posted Aug 30, 2014
100% Starry Eyes " the identity of Starry Eyes is as divided as its protagonist's, so that it works all at once as a cultish tale of diabolism under the Hollywood sign, as a grim satire of the movie system, and as a tragic psychodrama of a Lynchian 'woman in trouble'." — Grolsch Film Works
Posted Aug 30, 2014
—— Dead Within (2014) " Ben Wagner's cabin-fever creation is a sharply nuanced survivor's tale that leaves the viewer to disentangle the genre tropes from their underlying triggers, and the reality from its delirious breakdown." — Grolsch Film Works
Posted Aug 30, 2014
50% White Settlers " even if White Settlers is somewhat flawed, it has certainly come at the perfect moment, and may even, at least within the shadowy borderlands of the horror community, spark a debate about the rights and wrongs of Scottish claims to independence." — Grolsch Film Works
Posted Aug 30, 2014
61% Bad Milo! (2013) " disgusting and grotesque, but also funny throughout, and amiable precisely because of its great affection for even the most odious of its characters, as befits a film so preoccupied with arseholes. " — Grolsch Film Works
Posted Aug 30, 2014
64% WolfCop " a gloriously lowbrow shaggy dog tale that puts its own spin on the werewolf mythos, makes a hero of a conventional monster, and has enough genre-savvy gags and goofs to get any well lubricated audience howling with laughter. " — Grolsch Film Works
Posted Aug 30, 2014
—— Housebound (2014) " Housebound unfolds in a borderland (on the Twin Coasts Highway!) between the ghostly and the physical, the eerily uncanny and the hilariously banal" — Grolsch Film Works
Posted Aug 30, 2014
80% The Canal (2014) " That hole in the wall becomes a hole in the film, and creates a gaping hole in the narrative which... casts everything, including meaning, in deep, dark shadow where the viewer's imagination is left to play hide and seek. " — Grolsch Film Works
Posted Aug 30, 2014
—— The Forgotten " Frampton handles the scares masterfully - but it is the pervasive sense of sadness that will haunt you longer. " — Grolsch Film Works
Posted Aug 30, 2014
—— The Last Showing (2014) " You can admire its self-referential construction, its meta murder, its games with perspective - but in the end, Stuart is less another iconic villain for Englund than a self-satisfied smartarse with a sadistically psychotic streak." — Grolsch Film Works
Posted Aug 30, 2014
—— Julia " presents a stylised, off-kilter world of revenge (or at least revenge fantasy) where true freedom and true self-realisation are states of mind, and of delusion. " — Grolsch Film Works
Posted Aug 30, 2014
49% Wolf Creek 2 (2014) " Wolf Creek 2 both deconstructs and perpetuates the myth of boorishly ugly hospitality Down Under, creating a monster who is a distorted yet recognisable part of the Australian character (especially in the current political climate). " — Grolsch Film Works
Posted Aug 30, 2014
—— Preservation " Denham's film has the anxieties of post-9/11 America firmly in it sights, asking what kind of example the nation's recent history of violent adventurism abroad has set for the next generation of boys with toys. " — Grolsch Film Works
Posted Aug 30, 2014
—— Late Phases " Like Don Coscarelli's Bubba Ho-Tep (2002), Late Phases uses an old-school monster of horror to allegorise the cruelly inexorable ravages of senescence and death." — Grolsch Film Works
Posted Aug 30, 2014
—— X Moor " Inevitably, though, X Moor must at some point settle on a subgenre, and once it gets down to slasher business, the films starts to show a more routine side " — Grolsch Film Works
Posted Aug 30, 2014
80% The Den (2014) " The results are a paranoid thrill ride into twenty-first century manipulation and exploitation, a pseudo snuff film whose very making we witness, and whose impact comes from our awareness of its chilling plausibility. " — Film Divider
Posted Aug 30, 2014
71% R100 (2014) " this kinkily outrĂ©, deliriously self-aware film defines 'not for everyone', and may leave many feeling cold and not a little confused. Yet for those chosen ones who are open to its rarefied entertainments, fountains of uncharted ecstasy await." — Film Divider
Posted Aug 30, 2014
89% Alleluia " Du Welz takes amour fou to very strange places - and I don't just mean the Ardennes - in a homicidal love story whose greatness (and oddness) can be measured in feet." — Film4
Posted Aug 30, 2014
55% The Signal (2014) " It is as if someone had decided to turn high-concept SF into a lyrical indie poem, where ideas and feelings trump noisy genre gestures - which makes the film stand out, quietly, from the crowd, even as it confronts the bounds of infinity. " — Grolsch Film Works
Posted Aug 29, 2014
69% Extraterrestrial (2012) " Few alien invasion films are this charming, this witty, and this free of aliens." — Grolsch Film Works
Posted Aug 29, 2014
21% Honey (2003) " There is body horror here too, and a recognisable seam of 1950s paranoid SF, but at heart this is a slow-burning allegory of the radical change that comes with marital commitment" — Grolsch Film Works
Posted Aug 29, 2014
—— Shockwave Darkside " You can't fault its heady ambition; but you might easily object to its confusing overabundance of voiceovers, computer readouts and (at first) near indistinguishable characters, & its terrible 3D that never allows the eyes to focus on anything." — Grolsch Film Works
Posted Aug 29, 2014
—— Altergeist " fully exploits its unusual vineyard setting, makes fun of its own hackneyed tropes..., and finds novel ways to reverse-engineer an apparent ghost story into something with a rather different genre frame. " — Grolsch Film Works
Posted Aug 29, 2014
—— Digging Up the Marrow " The results, less 'found footage' than - as Green calls it - 'footage footage', are a very funny, self-reflexive mash-up of documentary and fiction which focuses precisely on issues of belief, make believe, and the biting nature of reality. " — Grolsch Film Works
Posted Aug 29, 2014
50% Drew: The Man Behind The Poster (2013) " the documentary is also a sly elegy for a changing Hollywood where real hands-on artistry is being replaced by the rush to digital homogeneity." — Grolsch Film Works
Posted Aug 29, 2014
—— Open Windows (2014) " By the end the narrative manipulations of Vigalondo's films become too convoluted for their own good, but it is a fun ride through our new virtual existences. " — Grolsch Film Works
Posted Aug 29, 2014
Showing 1 - 50 of 1908
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