Anton Bitel Movie 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
85% Kill, Baby, Kill (Operazione paura) (Curse of the Living Dead) (Don't Walk in the Park) (1966) a story of collective guilt & implacable vindictiveness, as the past keeps returning to prey vampirically on the present - but also a story that travels through darkness to the dawn, ushering in a new epoch, exorcised of all diabolical vestiges.‐ Little White Lies
Read More | Posted Sep 18, 2017
No Score Yet Nobi (Fires on the Plain) (2014) From beginning to end, Tsukamoto confronts us with the horrors of war while refusing to countenance any notion of heroics - and the results, though not at all as pretty as the jungle landscapes, are unflinching, devastating and hard to forget.‐ Little White Lies
Read More | Posted Sep 13, 2017
70% Street Trash (1986) Jim Muro's outrageous, uncategorisable feature debut is a melting pot of America's underclass.‐ VODzilla.co
Read More | Posted Sep 9, 2017
No Score Yet Don't Go in the House (1980) a slasher that, for all its derivativeness, always retains our sympathy for its central bogeyman, ensuring that it is as much tragedy as horror.‐ VODzilla.co
Read More | Posted Sep 1, 2017
No Score Yet Dogged (2017) as an exploration of these British Isles with their quaintly insular ways, their class boundaries, their chauvinism, their toxically clubby patriarchal structures and their aggressive distrust of outsiders, it is an uneasy allegory.‐ Projected Figures
Read More | Posted Aug 31, 2017
4/5 76% The Limehouse Golem (2017) Twisty theatrical vision of Victorian vice and injustice.‐ Little White Lies
Read More | Posted Aug 31, 2017
No Score Yet Where the Skin Lies (2017) these ordinary-seeming people are exposed for their selfishness, subterfuge and savagery, as they remain, by implication, hostages to their own essential moral makeup, concealed just beneath the skin.‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Radius (2017) a literally, lethally toxic male [must] renegotiate his sense of proximity to or separation from the rest of society... recognising and confronting both himself and the radiating impact of his actions.‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Our Evil (Mal Nosso) (2017) in finding justification for the very worst of acts, it offers viewers, as well as several of its characters, entry to an otherworldly moral stage where all valid tickets will be honoured, and all benign intentions rewarded.‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Meatball Machine Kodoku (Kodoku: Mîtobôru mashin) (2017) The humour defines hit and miss, and is rather puerile in its wilful offensiveness - but this vision of Japan's individual and collective unconscious being monstrously realised and given a good shake certainly comes with a great punchline. ‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet The Glass Coffin (El ataúd de cristal) (2016) our conflicted, compromised heroine is travelling a long dark night of the soul, and seeing the parallel road that she might have taken had she not won her first film rôle...‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Freddy Eddy (2016) In this thriller of doppelgängers and duplicities, Tüllmann holds up a mirror to her protagonist's darkest desires, while keeping us on tenterhooks over the question whether Eddy really is back in Freddy's house, or just in his mind... ‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet The End? (In un giorno la fine) (2017) constantly struggles to revitalise its tropes or to use its location in any interesting way, leaving us feeling as stuck as Claudio in his worst ever day at the office. ‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Canaries (2017) even as Canaries gently ribs the absurd banalities of Welsh village life, it also puts Cwmtwrch (literally) on the map of world affairs, and allows for some gentle satire on the unequal basis of the UK's 'special relationship' with the US.‐ SciFiNow
Read More | Posted Aug 30, 2017
No Score Yet Boots on the Ground (2017) War is hell in this time-looping, mind-bending head-cam horror‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Bad Match (2017) Online dating rituals meet the bunny boiler in this twisty tale of toxic masculinity‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Mountain Fever (2017) This is an entirely ordinary apocalypse in which human nature proves as deadly as the virus, and the slightest flicker of hope that the narrative offers comes far too late. ‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Adult Babies (2017) If Brunt's film sounds puerile, it advertises that quality in its title. If its humour is strictly gutter level, it acknowledges its trash status through a fixation on fetishes & faeces. Adult babies in the audience will likely be gurgling with glee.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Accountable (2017) the psychological drama Accountable is a morally challenging portrait of a man who has never stopped being a little boy, on the edge.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet 3rd Night (2017) Written, produced, directed and cut by Adam Graveley, this feature debut plays a familiar game in a mostly familiar way, but makes the most of its outback setting and (largely) nocturnal camerawork to conjure a sense of feral menace.‐ SciFiNow
Read More | Posted Aug 29, 2017
38% Voice from the Stone (2017) an eerie and uncanny mystery, engraved upon evocative locations, some subtle sound design, and Clarke's endlessly expressive eyebrows.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Victor Crowley (2017) Green is not just pastiching a Reagan-era mode of by-numbers splatter, but also reflecting upon that style's resurrection through the Hatchet legend that he created himself - & so this new film comes with a decidedly postmodern, self-reflexive feel.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Verónica (2017) a beautifully shot, delicately acted two-hander, as well as a quite literally psychological thriller, as Verónica's treatment, indeed, her very identity, come to be dominated by transference, projection and rôle play...‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Top Knot Detective (2016) Brash, bold and utterly batshit, Top Knot Detective documents a bygone television sensation so crazy that you would be forgiven for not believing in the truth of any of it. ‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet To Hell and Back: The Kane Hodder Story (2017) interweaves Hodder's rise as a stuntman, stunt coordinator and genre actor with unexpected details from his real life - like the bullying he faced as a child, or the horrific physical and mental damage he sustained in an early fire stunt gone wrong.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet The Terror of Hallow's Eve (2017) It is endearingly old school, yet still manages, in the end, to show how we are all, even today, informed and influenced by the legends of the past.‐ SciFiNow
Read More | Posted Aug 29, 2017
83% Still/Born (2017) Christensen simultaneously offers a sensitive insider's view of the anxieties and pathologies that can come with motherhood, and the horror of a vulnerable woman's struggle with a malevolent baby-eating she-devil.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Ruin Me (2017) Self-consciously reconstructed from references to Saw, Freaks, Shutter Island and any number of slashers, Ruin Me is a postmodern horror that makes its own manipulative use of familiar scenarios very much a part of its plotting machinery. ‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Psychopaths (2017) as the Storyteller, no doubt correctly, wonders aloud whether some might find the violence too gratuitous and the story too ambiguous, others (myself included) will just relish getting lost in the mannerisms, the mood and the madness of it all.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Nightworld (2017) Nightworld conjures the spirits of many other stories to tell its own. It's an uncanny amalgam which, though pointedly derivative, to an extent confounds through the sheer multitude of its influences, & takes full advantage of very atmospheric sets.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Mindhack: #savetheworld (2017) Edited by Mike Hugo with glitchy exuberance and crammed with irrational leaps that could only come from the imagination of a geek like[hero] Mason, writer/director Royce Gorsuch's feature debut Mindhack is SF psychodrama at its most disorienting. ‐ SciFiNow
Read More | Posted Aug 29, 2017
100% Mayhem (2016) If there is any viewer discomfort involved in following our protagonist through a high bodycount toward his ultimate business goals and moral centre, the beauty is that [Joe] Lynch, like Derek, ultimately turns all this explosive depravity into art.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Mansfield 66/67 (2017) Who Mansfield really was remains elusive - but her pretty-in-pink legend is writ large, and in broad strokes, for this hyperbolic, gaudy film portrait.‐ SciFiNow
Read More | Posted Aug 29, 2017
75% Leatherface (2017) the film becomes a kind of whodunnit, or whowilldoit, as we try to second-guess which character will eventually put on the skin mask, and come of age from juvenile delinquent to adult family butcher and human meat chef.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet King Cohen: The Wild World of Filmmaker Larry Cohen (2017) Perhaps this willingness to respect cinema's past, even as Cohen himself slowly becomes part of it, is what gives this otherwise conventional - if consummately compiled - documentary its elegiac feel.‐ SciFiNow
Read More | Posted Aug 29, 2017
36% Jackals (2017) for the most part Jackals is best regarded as a genre amusement ride, always well crafted if never distinguished enough to achieve genuine cult status.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Inside (2016) Inside is not at all bad, but fans of the original (or indeed of Kidnapped) will miss both those films' visceral cruelty and despairing bleakness.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Incontrol (2017) Ambiguous and elliptical, InContol is a speculative poem wherein postmodern identity becomes its own special form of prison.‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Imitation Girl (2017) an exploration of feminine self and otherness beyond the male gaze. It has something in common with Jonathan Glazer's Under The Skin, although it substitutes that film's near constant sense of menace and predation with poetic insight and wonderment.‐ SciFiNow
Read More | Posted Aug 29, 2017
67% Freehold (Two Pigeons) (2017) This freaky flat-sharing flick is haunted by the horrors of the housing crisis‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Exhume (2017) what is perhaps most disturbing and uncomfortable about this film is not the horrors that took place at the Camp (shown in oneiric flashback), but a bizarre plot twist that serves to exonerate, even justify, [child] abuse.‐ SciFiNow
Read More | Posted Aug 29, 2017
20% Eat Locals (2016) combines the tropes of vampire films with the Little England satire of Royston Vasey to show the accidental centrality of small-town British parochialism to a global economic scene where religious and national interests are trumped by corporate ones‐ SciFiNow
Read More | Posted Aug 29, 2017
No Score Yet Double Date (2017) the sort of genre hybrid that is as charming and funny as it is brutal. Meanwhile its feminist serial killings - committed, paradoxically, in the name of a patriarchal 'daddy' - slyly turn the tables on our expectations of both genders.‐ SciFiNow
Read More | Posted Aug 28, 2017
No Score Yet Diane (2017) PTSD allegory of the ills that can haunt veterans... offer[s] an unusual take on both the murder mystery and the haunted house.‐ SciFiNow
Read More | Posted Aug 28, 2017
No Score Yet Devil's Gate (2017) A small-town missing persons case leads to genre miscegeny... repeatedly wrong-foot[s] even the savviest of viewers with its misdirections‐ SciFiNow
Read More | Posted Aug 28, 2017
40% Death Note (2017) The premise of Death Note is both killer and deliriously daft, and Wingard is deft in his handling of both these aspects, expertly offsetting the dark humour with the occasional shock of graphically gory horror.‐ SciFiNow
Read More | Posted Aug 28, 2017
No Score Yet Cold Hell (Die Hölle) (2017) A serial killer's quarry refuses to play victim in this Turco-Austrian take on The Girl With The Dragon Tattoo‐ SciFiNow
Read More | Posted Aug 28, 2017
No Score Yet The Bar (El bar) (2017) In Álex de la Iglesia's metropolitan siege flick, humans prove the deadliest virus... The result is an over-the-top, below-the-bottom comic melodrama that in the end puts human behaviour under the microscope.‐ SciFiNow
Read More | Posted Aug 28, 2017
No Score Yet Seuls (2017) all a little too flat and unengaging to be genuinely thrilling, while the explanation offered near the end for what is really going on is a little too similar to the premise of other, better films ... to blow any viewer's mind.‐ SciFiNow
Read More | Posted Aug 28, 2017
43% I corpi presentano tracce di violenza carnale (Torso) (Bodies Bear Traces of Carnal Violence) (1973) The near universality of male errancy in Torso certainly makes it difficult to guess the identity of the killer - but it also points to another message in Martino's work, inscribed expressionistically by men on the bodies of women.‐ Little White Lies
Read More | Posted Aug 28, 2017