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
92% The Man on the Train (L'homme du train) (2003) The Man On The Train uses the genre of the crime film to explore the existential crisis of masculinity, and the conclusion it reaches is a similarly bleak affirmation of the codes of heroism.‐ Projected Figures
Read More | Posted Dec 9, 2017
71% The Ritual (2017) ... a seductively disorienting saga...‐ Projected Figures
Read More | Posted Dec 6, 2017
60% Another WolfCop (2017) The lowest-common-denominator gags, designed to appeal to the loser idiot in all of us, will have stout-filled viewers howling with laughter.‐ SciFiNow
Read More | Posted Dec 6, 2017
93% Suspiria (1977) Suspiria is a baroque piece of esoteric expressionism that you enter - and exit - without understanding so much as feeling. ‐ Little White Lies
Read More | Posted Dec 4, 2017
4/5 100% Most Beautiful Island (2017) The plight of America's dreaming paperless, in devastating diptych.‐ Little White Lies
Read More | Posted Nov 30, 2017
No Score Yet Il Tuo Vizio è una Stanza Chiusa e Solo Io ne ho la Chiave (Your Vice Is a Locked Room and Only I Have the Key) (1972) Martino expertly manages the many twists, in a story where it is always important to know just who is in bed with whom, who is on top, and who is being taken for a ride.‐ VODzilla.co
Read More | Posted Nov 26, 2017
87% The Dark Knight Rises (2012) [The Joker] was to become cinema's poster boy for international terror, with Batman's extra-legal responses - vigilante violence, external rendition, torture and mass surveillance - darkly reflecting Bush's America caught in its own moral compromise.‐ Projected Figures
Read More | Posted Nov 26, 2017
79% Fight Club (1999) ...capturing perfectly the stirring discontent of the 90s & the madness (geopolitical/economic) that would erupt globally in the decade to come. For in his love of anarchic (self-)destruction, Tyler shows the new Millennium through a glass darkly.‐ Projected Figures
Read More | Posted Nov 26, 2017
98% Apocalypse Now (1979) as Captain Willard (Martin Sheen) heads up river to assassinate Kurtz, his increasing admiration for the man is offset by his disgust at the scenes of more authorised insanity (and hypocrisy) all around. ‐ Projected Figures
Read More | Posted Nov 26, 2017
99% Taxi Driver (1976) if Travis is a contradiction, then so is the Vietnam-era United States in which he walks and drives - a schizophrenic environment where violence is always bubbling beneath the surface of dignity, decency and democracy.‐ Projected Figures
Read More | Posted Nov 26, 2017
100% Edogawa ranpo taizen: Kyofu kikei ningen (Horrors of Malformed Men)(Horror of a Deformed Man) (1969) Jogoro is no doctor, and his "dream of 30 years" is motivated not by the usual scientific hubris, but rather by a desire to fashion all humanity in his own deformed image..., and by the sheer will to realise a thoroughly demented vision.‐ Projected Figures
Read More | Posted Nov 26, 2017
96% Island of Lost Souls (1933) H.G. Wells' overstepping biologist Moreau pokes and prods at a very modernist anxiety: in the wake of Darwinism, has science opened the conventionally closed borders between the bestial, the human and the divine?‐ Projected Figures
Read More | Posted Nov 26, 2017
95% The Handmaiden (Ah-ga-ssi) (2016) a sumptuous, sensual world of illusion and treachery designed by Park and his characters to seduce and entrap - and here eros most certainly trumps pornography.‐ Projected Figures
Read More | Posted Nov 26, 2017
No Score Yet Yeogyosu-ui eunmilhan maeryeok (Bewitching Attraction) (2006) Textiles professor Eun-suk (Moon So-ri) comes with a pronounced limp (in fact part of her allure) & a secret past - & her gleefully promiscuous ways serve to undermine Korean assumptions about both academic respectability & feminine submissiveness‐ Projected Figures
Read More | Posted Nov 26, 2017
92% Dohee-ya (A Girl at My Door) (2015) July Jung's subtly observed feature debut explores both the solidarity of two abandoned women in a sexist environment, and the darker edge of their special friendship.‐ Projected Figures
Read More | Posted Nov 26, 2017
No Score Yet Baramnan gajok (A Good Lawyer's Wife) (2003) What emerges from this is a stark mismatch between the expected conduct of bourgeois Koreans, and what actually makes them happy - with a special emphasis on the rôles foisted upon women in a conventional relationship.‐ Projected Figures
Read More | Posted Nov 26, 2017
No Score Yet Hanyo (The Housemaid) (1960) exposes class anxieties in Korea, while also transforming those very anxieties into a self-ironising entertainment.‐ Projected Figures
Read More | Posted Nov 26, 2017
100% The Prince of Nothingwood (2017) a peculiarly involuted dynamic - Kronlund filming Shaheen filming his own story - from which we get a picture of man & myth, two aspects of a filmmaker who has always built his fictions upon the foundations - & ruins - of his nation's realities.‐ Little White Lies
Read More | Posted Nov 24, 2017
No Score Yet Six Figures Getting Sick (Six Men Getting Sick (Six Times)) (1966) This unconscious eructation of irrational, amorphous materials, sputted from these six heads like sperm from upright penises, offers a visual metaphor for the messy imperatives of the (pro)creative process. ‐ Projected Figures
Read More | Posted Nov 23, 2017
89% Hounds of Love (2017) Vicki's efforts to escape her harrowing circumstances place Hounds of Love firmly in the horror genre, but the real monsters here are the systemic abuses of patriarchy‐ Projected Figures
Read More | Posted Nov 23, 2017
80% Tag (Riaru Onigokko) (2015) Prolific cult filmmaker Sion Sono has freely adapted the world of Yusuke Yamada's 2004 novel 'Riaru Onigokko' to expose the trappings of patriarchy. ‐ Little White Lies
Read More | Posted Nov 20, 2017
67% Black Christmas (1974) Made at a time when there were as yet no fixed rules for the slasher subgenre, here anything goes, and the survival of neither virgin nor even final girl comes guaranteed.‐ Little White Lies
Read More | Posted Nov 13, 2017
No Score Yet Tear Me Apart (2015) for those who like a bit of a coming-of-age allegory and post-patriarchal spin to their post-apocalyptic fables, there is much on which to chew here. Beautifully shot, too.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet The Truth Beneath (Bi-mil-eun eobs-da) (2016) It is a taut, twisty affair, pivoting around the question of whether Min-jin's disappearance is the result of ruthless electioneering or of something closer to home.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet The Hunt (Sanyang) (2016) a mash-up of genres - explicitly referencing First Blood & Deliverance, but also bringing in a rich seam of melodrama with traces of the supernatural, & with a substrate message about self-sacrifice & continuity being a community's richest treasure.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet Alone (Hon-ja) (2015) Park Hong-min's indie experiment Alone is a disorienting, Lynchian tale of a lost soul - and is just about unnerving and unusual enough to get away with feeling slightly overextended.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet Bait (2014) Bait shares its title with Kimble Rendall's 2012 schlockfest, only this time it is not finned underwater monsters but a predatory loan shark who circles the marketplace in search of big bites - and the terror which he brings is tangible and grounded.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet Inner Demon (2014) If Sam spends the second half hidden in a closet, witnessing horrors while trying to undo the hinges with a penknife, the film itself pivots on two different subgenres, while getting trapped in an overlong, repetitive middle section of hide & seek.‐ Projected Figures
Read More | Posted Nov 7, 2017
No Score Yet Terrifier (2017) Thornton stays in rôle as fun-loving mime artist, so that all his slayings involve an unnerving combination of predatory sadism & popular performance. This makes him a perfect vehicle for the paradoxes of horror (as) entertainment.‐ Sight and Sound
Read More | Posted Nov 7, 2017
No Score Yet Housewife (2017) This beautifully disturbing vision of family perverted is a Lovecraftian psychosexual snowglobe of a film, like a fairytale fantasy dreamt up by a child - or by an arrested, damaged adult.‐ Sight and Sound
Read More | Posted Nov 7, 2017
No Score Yet It Came from the Desert (2017) Its sensibilities were all a bit too adolescent for my tastes (and age), but for those still fixated on brewskies and formication, It Came from the Desert is a monstrously fun ride.‐ Sight and Sound
Read More | Posted Nov 7, 2017
No Score Yet Hostile (2017) Beautifully shot by Vincent Vieillard-Baron with two very different lighting schemes (richly coloured past, arid present), this is a strange coupling of romance & horror... climactic confrontation between heroine & monster is both surprising & moving‐ Sight and Sound
Read More | Posted Nov 7, 2017
36% Daguerrotype (Le secret de la chambre noire) (2016) slow-burning ghost story Daguerrotype concerns present absences: the 'e' missing from the centre of its title foreshadows the dead subjects mummified in Stéphane's daguerreotypes, the spectre of Denise, and the not-quite-all-there aloofness of Marie.‐ SciFiNow
Read More | Posted Nov 7, 2017
No Score Yet The Black Gloves (2017) The film looks glorious - and though self-consciously old-fashioned in form, it is ultimately not at all so in its gender politics.‐ Sight and Sound
Read More | Posted Nov 6, 2017
No Score Yet Beyond Skyline (2017) at first retelling the original's LA invasion from street (and underground) level, and then borrowing from the follow-ups to The Purge both lead actor Frank Grillo, and a see-what-sticks approach to sequel making.‐ Sight and Sound
Read More | Posted Nov 6, 2017
No Score Yet Horror Movie: A Low Budget Nightmare (2017) Anderson is disarmingly frank, talking openly not just about his frustrations and self-doubt as a filmmaker, but also about his physical discomfort from a recent circumcision.‐ Sight and Sound
Read More | Posted Nov 6, 2017
No Score Yet Dark Souls (Mørke sjeler) (2010) Dark Souls' apocalypse of banality plays fast and loose with its generic identity, but is ultimately rotten.‐ VODzilla.co
Read More | Posted Oct 30, 2017
100% Creep 2 (2017) It's kiss or kill in Patrick Brice's hilariously unhinged found-footage sequel‐ SciFiNow
Read More | Posted Oct 30, 2017
No Score Yet Hagazussa: A Heathen's Curse (Hagazussa) (2017) Feigelfeld uses amplified sound design and MMMD's intense bowed-bass drones to conjure an otherworldly presence from the starkly beautiful natural settings. This is a sensual, slow-burning tragedy filled wth ominous awe.‐ Sight and Sound
Read More | Posted Oct 25, 2017
83% The Thing (1982) The Thing is set in an all-male environment, and is as much a study of masculinity in crisis as an update of the sort of siege scenario that Carpenter had already played out in Assault on Precinct 13. ‐ Little White Lies
Read More | Posted Oct 23, 2017
56% Kicking and Screaming (1995) Noah Baumbach's debut is a witty not-coming-of-age story set among arrested college graduates.‐ VODzilla.co
Read More | Posted Oct 22, 2017
50% Bite (2016) This is pure body horror, focusing on the vomit and pus and oozy emissions that accompany Casey's entomological alterations - but it is also an allegory of a young woman's full, monstrous conversion to marriage, maternity and hardcore homemaking.‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet Goddess of Love (2015) Kendra (who also co-wrote) gives her all in an astonishing, slippery performance - and while there is a 'bunny boiler' moment, this erotic thriller distinguishes itself by being told from the inside out‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet Hostile (2014) a confidently mounted, genre-savvy ragbag that constantly confounds & wrongfoots without ever making complete sense. This protean quality may be dismissed as a symptom of the filmmaker's immaturity - but it is also where the uncanny finds its home.‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet My Bloody Banjo (2015) If a would-be man's arrested development and inability to put away childish things are key themes in Liam Regan's feature debut Banjo, juvenility pervades the film too... a puerile throwback.‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet Farhope Tower (2015) the 'Unspecters' wish to "separate...from the pack" of their rival ghost hunters & take their chosen genre to "the next level", when in fact all Farhope Tower has to offer is noises off & preternatural possessions of a markedly conventional variety.‐ Projected Figures
Read More | Posted Oct 22, 2017
83% Night of the Living Deb (2014) ...these citizens of Maine take armageddon in their stride, and even find time, mid-massacre, for a spot of relationship-building. It is a tad hit and miss, but just about charming enough to survive the overcrowded zombie market.‐ Projected Figures
Read More | Posted Oct 22, 2017
59% Jeruzalem (2016) There is too much subjectivised sightseeing & meandering character business in the first two acts... but once the Resurrection has finally commenced... millennia of religious and racial tensions are given a postmodern Bibilical form. ‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet Never Let Go (2015) Here, as with a Rambo sequel, the text is clear while the subtext (on race, gender and geopolitics) remains murky and misconceived. The action, however, is very well done.‐ Projected Figures
Read More | Posted Oct 22, 2017
No Score Yet The Unfolding (2016) conjures a world not so very far in the future (2016, to be exact) on the brink of mutually assured destruction, while also moonlighting as a 'found footage' ghost story‐ Projected Figures
Read More | Posted Oct 22, 2017