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
22% Let's Be Evil (2016) Once the children have turned on their minders, the film's big ideas sadly get lost in seemingly endless scenes of adults running down hallways, hiding in rooms, & scurrying through crawlspaces. Whether real or virtual, this is numbingly clichéd. ‐ Projected Figures
Posted Aug 28, 2016
50% 31 (2016) as is always the case with Zombie's films, it is very difficult to like, engage with or even care about the characters for whom we suspect we are supposed to be rooting. ‐ Projected Figures
Posted Aug 28, 2016
No Score Yet Johnny Frank Garrett's Last Word (2016) Rumley's first foray into the (possibly) supernatural... this story - of a convicted killer taking vengeance from beyond the grave against those who conspired to sentence him to death - comes with an unusual grounding in reality. ‐ Projected Figures
Posted Aug 28, 2016
80% Beyond the Gates (2016) Everything here screams the Eighties, from the red-and-blue lighting to the practical latex-and-splatter effects, [to] the presence of Eighties scream queen Barbara Crampton (Re-Animator) as the game's creepy video guide... ‐ Projected Figures
Posted Aug 27, 2016
No Score Yet Cruel Summer (2016) Beautifully - & elliptically - shot, with all the worst atrocities kept off screen as the camera cuts away from human nature to its more summery, sylvan variety, Cruel Summer is a harrowing idyll of society at its most adolescently self-destructive. ‐ Projected Figures
Posted Aug 27, 2016
No Score Yet The Rezort (2015) an unnatural genetic hybrid of moribund clichés and live issues, with the once-human 'hordes' confrontationally playing our fears off against our sympathies. ‐ Projected Figures
Posted Aug 27, 2016
No Score Yet They Call Me Jeeg Robot (Lo chiamavano Jeeg Robot) (2015) despite all these storytelling modes, at base the film has little of substance to say - and, at nearly two hours, takes far too long to say it. ‐ Projected Figures
Posted Aug 26, 2016
No Score Yet Francesca (2009) there is literally nothing here to give away that this giallo, on reflection more retro than neo, was made in 2015, or indeed any time in the last three decades. ‐ Projected Figures
Posted Aug 26, 2016
80% My Father, Die (2017) For his feature debut, writer/director Sean (son of Pierce) Brosnan has crafted a swampy myth of tragic family dysfunction - and of bestial nature that must be contained. ‐ Projected Figures
Posted Aug 25, 2016
89% The Childhood of a Leader (2016) an adult film about Europe's (and the world's) permanent pre-adolescence. ‐ SciFiNow
Posted Aug 19, 2016
76% We Are the Flesh (Tenemos la carne) (2017) even as it parades all manner of deviant depravities concerning the body & the body politic, it also transgresses the normal bounds of the horror genre, graphically engendering an allegory of an individual's, & a nation's, awkward rites of passage. ‐ Sight and Sound
Posted Aug 18, 2016
No Score Yet Fury of the Demon (La Rage du Démon) (2016) This lost & allegedly dangerous film maudit may not be extant, but in his pursuit of it Delage offers a potted history... while also highlighting the imaginative power of cinema itself, capable of conjuring reality's phantoms from fictive montages. ‐ Sight and Sound
Posted Aug 18, 2016
95% The Similars (Los Parecidos) (2016) a surreal assimilation of reality to fantasy, wearing its generic influences (sci-fi, noir, horror, pulp) on its face, while also weaving them into the very fabric of it story. It may be concerned with copying, but The Similars is a true original. ‐ Sight and Sound
Posted Aug 18, 2016
No Score Yet Director's Cut (2016) a hilarious mix of production observation, movie-making incompetence, and unhinged self-implication into an art that always needs outsider input to renew itself. ‐ Sight and Sound
Posted Aug 18, 2016
95% The Love Witch (2016) all this [visual attractiveness] is part of the film's seductive artifice, fashioned to mesmerise the viewer in much the way that witch protagonist Elaine uses makeup, dress and wig to lure male lovers by reflecting their fantasies. ‐ Sight and Sound
Posted Aug 18, 2016
100% Man Underground (2016) This study of loneliness, trauma and depression is rather less absurd than the home movie [whose making it dramatises], and more bittersweet. ‐ Sight and Sound
Posted Aug 18, 2016
89% Another Evil (2015) Beautifully written, funny and awkward, this plays like Patrick Brice and Mark Duplass's Creep (2014) for ghostbusters, and leaves viewers to unpack for themselves where (if anywhere) the evil promised by the title lies. ‐ Sight and Sound
Posted Aug 18, 2016
78% The Master Cleanse (2015) As lost, lonely self-helpers struggle to work out whether their negative feelings should be killed off once and for all, or embraced and even shared, Miller's screenplay births plenty of emotionally intelligent tragicomedy. ‐ Sight and Sound
Posted Aug 18, 2016
76% We Are the Flesh (Tenemos la carne) (2017) Once viewers have been subjected to this film's dark, dank tunnel visions and inversions of worldly convention, who knows if they can emerge untainted and intact out the other side. ‐ Projected Figures
Posted Aug 17, 2016
60% Red Christmas (2016) a calendar slasher... while there is much good humour in the script, you will not be laughing by the end at its deadly serious engagement with a moral dilemma that has plagued the culture wars of the last half-century. ‐ Projected Figures
Posted Aug 17, 2016
No Score Yet Fury of the Demon (La Rage du Démon) (2016) Fury of the Demon is the F for Fake of early film history, mixing truth and pure fiction in its pseudo-documentary form to reveal something essential about both cinema's artifice, and the audience's perverse desire to give themselves over to belief. ‐ Projected Figures
Posted Aug 16, 2016
No Score Yet Microwave Massacre (1983) This is nostalgia at its most wrong, but also, for those of a certain mindset, it might prove a lost treasure from the trash - like the woman's arm that a passing bum finds in Donald's rubbish bin, and repurposes as a crotch- and back-scratcher. ‐ Little White Lies
Posted Aug 15, 2016
81% Southbound (2016) Abstract and eerily incomplete, Southbound unfolds in a place where Marienbad heads south to the Twilight Zone and Dead End, and where moral failings collide with macabre consequences. ‐ Little White Lies
Posted Aug 8, 2016
54% The Purge: Election Year (2016) Its politics are aggressively trashy and polarising - just like in America's real Election Year [but] despite its political drive, there is just too much 'B' under its bonnet. ‐ Little White Lies
Posted Aug 5, 2016
33% The Himalayas (2016) All the buddy comedy of The Himalayas produces a release valve for a nation that is steeped in han and desperate to snatch some sort of victory from the jaws of many defeats. ‐ Projected Figures
Posted Aug 5, 2016
No Score Yet The Dead Next Door (1995) writer/director/producer/actor JR Bookwalter's feature debut... is no less a labour of love than it is in love with its own generic antecedents. ‐ Little White Lies
Posted Jul 25, 2016
100% Shelley (2016) in this story of pernicious, all-consuming loss, the name [Shelley] furnishes a key, pregnant with possibilities, for interpreting the film's fertile nexus of frictions and associations. ‐ Projected Figures
Posted Jul 22, 2016
4/5 84% Star Trek Beyond (2016) To reinvigorate the franchise's sense of purpose, new recruit Justin Lin takes things back to their roots and core values, while also injects some of the dynamic action that he has honed on multiple Fast and Furious sequels. ‐ Little White Lies
Posted Jul 21, 2016
83% River (2016) Jamie M. Dagg's gripping thriller traces the moral fluidity of foreign volunteer work. ‐ VODzilla.co
Posted Jul 20, 2016
73% Ghostbusters (2016) Several scenes where the Ghostbusters try out Holtzmann's weapons in the alley behind their offices, and destroy everything in their path along with the bull's-eye target, perhaps encapsulate the hit-and-miss nature of the comedy here. ‐ Projected Figures
Posted Jul 10, 2016
No Score Yet Five Dedicated to Ozu + Roads of Kiarostami (2003) The loose boundary between truth & fiction... is equally, if differently, present in Five, where lengthy snapshots of nature that seem to have been taken with no directorial intervention are in fact the product of careful contrivance. ‐ Projected Figures
Posted Jul 5, 2016
69% Suture (1993) a bold, confident debut that knows exactly what it is, and has a lot of fun letting its viewers reconstruct and reconcile its separated pieces. For here everything - and nothing - is black and white. ‐ Little White Lies
Posted Jul 5, 2016
94% Finding Dory (2016) ['septopus' Hank's] flexibility and timidity, coupled with Dory's vulnerability and derring-do, make for a complex dialectic on the different ways in which the disabled can interact with the world beyond ‐ Little White Lies
Posted Jul 1, 2016
No Score Yet Jackrabbit (2015) Carleton Ranney's understated dystopian cyberpunk buddy flick makes unlikely pairings of clashing ideologies. ‐ VODzilla.co
Posted Jun 30, 2016
40% Under the Bed (2013) Once, however, the monster comes out of its hiding place and sheds its psychosexual slough, all that remains is a silly, sub-Joe Dante clash between kids and creature, with a dénouement so bewilderingly arbitrary that disappointment is inevitable. ‐ Projected Figures
Posted Jun 27, 2016
78% Wes Craven's New Nightmare (1994) If Pirandello penned a self-reflexive slasher, it might be like this. ‐ Projected Figures
Posted Jun 26, 2016
95% Remainder (2015) while it replays scenarios familiar from an enigmatic amnesiac thriller, the preoccupations of Remainder are of a decidedly existential bent, far closer to the Möbius-strip narrative and reproductive mania of Synecdoche, New York... ‐ VODzilla.co
Posted Jun 23, 2016
90% Suburra (2015) a rain-soaked, noir-shaded city symphony revealing a Roman empire that is always ending. ‐ Projected Figures
Posted Jun 21, 2016
53% Triple 9 (2016) It is a tense, amped-up, hyperviolent caper whose cops and robbers are not always easy to distinguish ‐ Projected Figures
Posted Jun 21, 2016
43% That Cold Day in the Park (1969) the psychodrama that emerges shows a woman lost in the cracks between the staid bourgeois respectability of her mother's generation, and the new freedoms of the '60s. ‐ Little White Lies
Posted Jun 20, 2016
97% Heart of a Dog (2015) for all its free-associative riffing on ideas, this is no shaggy dog story, but a carefully constructed cinematic poem on the subject of love and loss. ‐ VODzilla.co
Posted Jun 17, 2016
45% Intruders (2016) [director] Schindler plays these cat-and-mouse tropes expertly, as hunter and hunted repeatedly swap roles - but Schindler proves equally adept at playing our initial sympathies with Anna off against our escalating moral unease. ‐ Little White Lies
Posted Jun 6, 2016
80% The Conjuring 2 (2016) a series of expertly managed frights in which Wan shows off his skills - and repeatedly wrongfoots the viewer - in a variety of horror modes, from ghost motifs to exorcism tropes, and from Babadook-style mind monsters to vicious demons. ‐ SciFiNow
Posted Jun 4, 2016
41% Tusk (2014) Tusk's inherent absurdity would much better have been played straight and subtle all the way through to the end, rather than covered over with the broadest layers of blubbery, fish-in-a-barrel slapstick. Still, really enjoyed the first half... ‐ Projected Figures
Posted Jun 2, 2016
100% The Ballad of Narayama (1984) in this hermetic world... Imamura captures a truly universal, all-encompassing experience, showing the transmission of virtues and vices from one generation to the next in the service of life's tenacious continuity. ‐ Projected Figures
Posted Jun 1, 2016
No Score Yet Baba Yaga (Kiss Me Kill Me) (The Devil Witch) (1973) adapted from Guido Crepax's comic strip 'Valentina', [it's] an elegant phantasmagoria - perhaps not revolutionary in the true sense, but certainly unique, and far from the Eurosleaze schlockfest you might be expecting. ‐ Projected Figures
Posted Jun 1, 2016
No Score Yet Auschwitz (2011) anyone drawn to this film in the hope of deliriously tasteless schlock is bound to be disappointed, for Auschwitz is an unexpectedly serious, sober and sensitive history lesson from Boll. ‐ Projected Figures
Posted Jun 1, 2016
83% Bad Boy Bubby (2005) this dark satire-cum-parable (cling)wraps itself in a quirkily beautiful aesthetic that keeps us watching even when the material is at its most repellent or alarming. ‐ Projected Figures
Posted Jun 1, 2016
80% The Apple (1999) an allegory of Iran's longed-for emergence from repressive tradition into a more liberating modernity (especially for women). ‐ Projected Figures
Posted Jun 1, 2016
No Score Yet Alone Across the Pacific (1963) A sophisticated piece of cinema, both a high-seas adventure (with superb mid-Ocean cinematography), and a psychological study in near pathological solipsism. ‐ Projected Figures
Posted Jun 1, 2016