Anton BitelMovie Reviews & Previews - Rotten Tomatoes

Anton Bitel

Anton Bitel
Anton Bitel's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
77% Split (2017) In Shyamalan's inventive meta-psychodrama, it's 23 (or so) characters in search of an author. ‐ Little White Lies
Posted Jan 18, 2017
85% Metropolis (2002) we see the director's towering world of tomorrow being erected on the foundations of yesterday's cultural influence... a dizzying postmodern edifice, more impressive for its shimmering Steampunk architecture than for the dramas accommodated within ‐ Little White Lies
Posted Jan 16, 2017
61% The Lair of the White Worm (1988) More pantomime than horror, Ken Russell's unsurprisingly outrageous romp exposes conflicting substrates of British identity. ‐
Posted Jan 6, 2017
95% Endless Poetry (Poesía Sin Fin) (2016) In this circular portrait of the artist as a young man, Jodorowsky's principal theme is the permanence of impermanence. ‐ Little White Lies
Posted Jan 4, 2017
69% May (2003) Lucky McKee's pansexual patchwork carves up perfection to celebrate flaws. ‐
Posted Dec 24, 2016
85% Witching and Bitching (2014) this is a funny, outrageous war of the sexes played out on the battlefield of genre. ‐
Posted Dec 22, 2016
60% One Million Years B.C. (1967) If One Million Years BC is a tale of two tribes and their eventual miscegenation (figured - ooh da la - as a climactically erupting volcano), it is also a reminder of the primal drives - sex, violence - from which we never fully progress. ‐ Little White Lies
Posted Dec 20, 2016
80% Be My Cat: A Film for Anne (2015) unnerving study in cinephilia & erotomania, somewhere between Man Bites Dog & Creep, as one man documents his own murderous obsession, knowing full well that his possession of a camera is the best cover story for acts lifted from the horror genre. ‐ Little White Lies
Posted Dec 9, 2016
58% Lisa And The Devil (Lisa e il diavolo) (The Devil in the House of Exorcism) (1973) Mario Bava's elegantly perverse mystery traps its heroine in its design. ‐
Posted Dec 9, 2016
67% The Driller Killer (1979) a thematically dense, messily grounded film which, although about a drill, never bores - and there is nothing else quite like it. ‐ Little White Lies
Posted Nov 28, 2016
95% Moana (2016) That is Moana in a nutshell (or at least in a sea conch): smart about what it does, and easy on the eye, but at base the very Disney princess movie that it half-heartedly resists being - until, at least, its full heart is restored. ‐ Eye for Film
Posted Nov 22, 2016
4/5 99% The Wailing (Goksung) (2016) By turns funny and despairing, this village noir brings the horror of uncertainty. ‐ Little White Lies
Posted Nov 21, 2016
100% LFO: The Movie (2013) LFO is a tale of ordinary madness, an origin story for a superhero (or villain), and an allegory of power and its abuses ‐
Posted Nov 18, 2016
50% Attack of the Lederhosen Zombies (2017) the film itself knows that engagement with any kind of serious issue can be an uphill struggle, and so instead takes the path of least resistance, whooping and guffawing all the way down to genre's bottom. ‐
Posted Nov 14, 2016
29% Fear, Inc. (2016) this meta-horror... nails the contradictory mindset of the horror viewer, while hilariously double-, triple- and quadruple-bluffing the reality effects that lovers of scary movies crave to give their horror 'edge'. ‐ Sight and Sound
Posted Nov 2, 2016
No Score Yet Headshot (2016) ...plenty of bone-crunching biffo & bloody gunplay, but also allegory of Indonesia's troubled quest for a new identity as it still emerges from decades of oppressive 'parenting' under dictatorial president (& 'Father of Development') Suharto. ‐ Sight and Sound
Posted Nov 2, 2016
45% Rupture (2016) While flirting with the tropes of 'torture porn', Rupture in fact sees Shainberg altering and adapting the SM genes of his earlier film Secretary (2002) to SF. ‐ Sight and Sound
Posted Nov 2, 2016
No Score Yet Bed of the Dead (2016) embeds its contemporary scenario into a more timeless story, while boasting much freakish psychedelia and an irrational manipulation of spatio-temporal norms. ‐ Sight and Sound
Posted Nov 2, 2016
75% Asura: The City of Madness (2016) Kim Sung-su may be offering us a thrilling - and masterfully directed - ride, its punishing toll measurable in the bruises and scars that accumulate on [protagonist] Han's face, but the writer/director's intentions are also sociological. ‐ Projected Figures
Posted Nov 2, 2016
No Score Yet Inside Men (Nae-bu-ja-deul) (2015) this is a thrilling tale of slow, convoluted justice, and of revenge that is more a-hand-for-a-hand than an-eye-for-an-eye - but it is also a sprawling epic, [with] a labyrinthine plot that spans several years ‐ Projected Figures
Posted Nov 2, 2016
86% Donnie Darko (2001) Complex, inventive, gripping, strange, and in the end deeply moving, with more ideas in it than Hollywood has produced in the entire last decade. ‐ Daily Info
Posted Oct 31, 2016
67% The Neighbor (2016) The Neighbour offers a collection of tense, increasingly improbable thrills, accompanied by uncomfortable moral alignments in a world where everyone is marginalised and nobody can afford to obey the law. ‐ Little White Lies
Posted Oct 31, 2016
44% The Windmill (The Windmill Massacre) (2016) slickly made and gorily hellish, if also a bit of a generic grind. Still, there is some fun to be had in these dark satanic mills. ‐
Posted Oct 28, 2016
86% Dearest Sister: Nong Hak (2016) Dearest Sister's deftly handled genre routines offer a socioeconomic allegory of class and cultural clash in an emerging country whose past is always returning. ‐
Posted Oct 23, 2016
4/5 82% Ouija: Origin of Evil (2016) Ouija: Origin of Evil deconstructs and then reconstructs the tropes of the first film into a smarter, creepier blurring of fact and fakery. ‐ Little White Lies
Posted Oct 18, 2016
82% Observance (2015) Sims-Dennett's slippery take on manipulation and madness ushers in a welcome return for the messy obfuscation and creepy indeterminacy formerly found in the neurotic cinema of the late '60s and early '70s. ‐ Little White Lies
Posted Oct 10, 2016
100% A Dark Song (2016) It is sublime, uncanny and in the end deeply moving - and there is nothing else out there remotely like it. ‐ Sight and Sound
Posted Oct 8, 2016
77% The Eyes of My Mother (2016) Pesce's colourless presentation and elliptical editing offer a blinkered perspective on events which replicates both the protagonist's ocular obsessions and the mutual incomprehension of Francisca and those she encounters. ‐ Sight and Sound
Posted Oct 8, 2016
93% I Am Not a Serial Killer (2016) an affectionate, often funny look at small-town slaughter, with a killer protagonist for whom it is all too easy to root. ‐ Sight and Sound
Posted Oct 8, 2016
80% Without Name (2016) Through disorienting pull focuses & the hallucinatory play of light & shadow on tree trunks, Lorcan conjures the suggestion of a pagan presence in this eerily numinous maze of branches, & lets the viewer, along with Eric, become lost in the woods. ‐ Sight and Sound
Posted Oct 8, 2016
87% The Autopsy of Jane Doe (2016) carefully balances charm, mystery and frights, without ever forgetting a feminist subtext wherein it is better that past wrongs against women, however traumatic, be faced than merely buried, ignored or passed on. ‐ Projected Figures
Posted Oct 8, 2016
No Score Yet The Noonday Witch (2016) Both mythic and modern, and beautifully shot too, The Noonday Witch eclipses expectations. ‐ Projected Figures
Posted Oct 8, 2016
No Score Yet Creepy Crawlers (2000) Kiyoshi Kurosawa shows us in Creepy a special, hidden kind of murderer whose hunting ground is the fragile structure of the Japanese family itself, and who could live right next door. ‐ Projected Figures
Posted Oct 8, 2016
No Score Yet Dans la forêt (2016) Into the Forest offers an imaginative child's view of a very adult tragedy. Think a timbered The Shining, only with the mother effaced from the picture, and with much greater sensitivity towards the toppling father. ‐ Projected Figures
Posted Oct 8, 2016
60% War on Everyone (2017) unlike Tarantino, McDonagh draws as much from mythological and philosophical writings as from genre films. The results are a supersmart existential crime comedy. ‐ Projected Figures
Posted Oct 7, 2016
No Score Yet Blood Feast (2016) Once the gore starts splattering, it is impressively icky... pleasing - or unpleasant - depending upon the audience's range of expectations... laying out a family-sized feast that is like something from the most horrific Greek tragedies. ‐ Projected Figures
Posted Oct 7, 2016
96% Train to Busan (Bu-san-haeng) (2016) Here both zombies and train come to symbolise the blind forward momentum of an all-consuming capitalism, unchecked by the brake of any social principle. ‐ Projected Figures
Posted Oct 7, 2016
80% Psychomania (1971) Psychomania... is a collision of mythology and modernism, in which the spirit of rebellious anarchy is both celebrated and ultimately, eerily punished. ‐ Little White Lies
Posted Sep 27, 2016
No Score Yet White Coffin (Ataúd Blanco: El Juego Diabólico) (2016) It is a trip (and a mother) of a movie, full of Psycho pomp and Satanic circumstance - and, like all great films, it will leave you wanting to retrace its convoluted backroads again and again in a timeless loop. ‐ Projected Figures
Posted Sep 25, 2016
5/5 88% Aloys (2016) Austere yet fanciful, it is a haunting vision of loneliness and escape. ‐ Little White Lies
Posted Sep 23, 2016
84% The Girl With All the Gifts (2016) A genre film that favours characterisation and morality over mayhem (but gets the mayhem right too). ‐ Little White Lies
Posted Sep 21, 2016
3/5 97% Hunt for the Wilderpeople (2016) Hunt for the Wilderpeople is a fun, funny family yarn. ‐ Little White Lies
Posted Sep 16, 2016
32% Abattoir (2016) an unwieldy property, coming with its assembly work exposed, but "what a magnificent structure" it turns out to be. Prepare to get lost in its multi-levelled madness, & to have your familiarity with horror's ever-revenant tropes deconstructed. ‐ Little White Lies
Posted Sep 14, 2016
3/5 36% Blair Witch (2016) Perhaps these woods' biggest surprise is their proximity to the original's formula, despite 16 intervening years. ‐ Little White Lies
Posted Sep 14, 2016
98% Hell or High Water (2016) A hybrid of crime drama and neo-western..., Hell or High Water uses its half-breed genre thrills to expose an American dream long since soured by recession, and running on empty ‐ Projected Figures
Posted Sep 10, 2016
75% SiREN (2016) SiREN is inventive, scary, and also very funny - yes, even the rape scene - and brings a smart feminist point of view to its lost boys' walk on the wild side. ‐ Projected Figures
Posted Sep 5, 2016
No Score Yet Found Footage 3D (2016) by repeatedly drawing attention to the hackneyed nature of his film's many tropes while still giving each of them a fresh spin, DeGennaro gets to have his cake and shoot it too. The results are smart, funny, and ultimately frightening... ‐ Projected Figures
Posted Aug 29, 2016
98% Under The Shadow (2016) Like A Girl Walks Home Alone At Night, this is feminist horror made by an Iranian in exile, looking in from the outside - and as ominous winds of change blow through Shideh's home, Anvari matches social insights with expertly managed scares. ‐ Projected Figures
Posted Aug 29, 2016
No Score Yet The Killing of America (1982) both a patchwork history of America's low points in the 60s & 70s, & an exercise in negative nostalgia - but it is also, maybe more importantly, a troubling account of the beginnings of an American decline that has not been halted in the meantime. ‐ Projected Figures
Posted Aug 29, 2016
No Score Yet Hallows' Eve (2013) Hoodie horror with a guessable but still harrowing twist, Hallows Eve pits two gangs against one another... each, though differing from the other in terms of experience, similar in their hope, despair and loyalty for their shared community. ‐ Projected Figures
Posted Aug 28, 2016