Anton Bitel Movie Reviews & Previews - Rotten Tomatoes

Anton Bitel

Anton Bitel
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Rating T-Meter Title | Year Review
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
100% 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
33% 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
67% 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 (2018) 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
15% 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
83% Mayhem (2017) 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
32% 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
100% 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
25% Inside (2018) 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
71% 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
25% 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
79% 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
36% Devil's Gate (2018) 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
39% 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
100% 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
No Score Yet Dhogs (2017) Haneke meets Irréversible in this dark journey into the male gaze‐ SciFiNow
Read More | Posted Aug 25, 2017
39% Death Note (2017) Thrillingly twisty and darkly funny, Adam Wingard's American take on the Death Note mythos is the latest word on the diabolical irresponsibility of adolescence.‐ VODzilla.co
Read More | Posted Aug 23, 2017
No Score Yet The Slayer (1982) with its outright refusal to unpick for the viewer the ambiguities that it has so carefully crafted, this film's insular world of entrapment is far closer to the environs of Marienbad than to any Crystal Lake, Camp Blackfoot or Sorority Row.‐ Little White Lies
Read More | Posted Aug 21, 2017
No Score Yet Wolf Guy (Urufu gai: Moero okami-otoko) (1975) something wild - a hybrid film which refuses to demonise its freaks.‐ Little White Lies
Read More | Posted Aug 15, 2017
No Score Yet Sequence Break (2017) Sequence Break plays as a lovingly self-conscious throwback to a bygone age of cinema, even as it portrays [protagonist] Oz's struggle to prick the bubble of his own nostalgia and to break the sequence of a life lived looking ever backwards.‐ SciFiNow
Read More | Posted Aug 15, 2017
No Score Yet The Man Who Was Thursday (2016) Setting fascism against freedom, and hiding the devil in its details, this feature debut is an ambitious, sophisticated passion play that leaves Ron Howard's dumb-assed The Da Vinci Code (2006) in its dust.‐ Projected Figures
Read More | Posted Aug 15, 2017
No Score Yet A Violent Prosecutor (Geom-sa-oe-jeon) (2016) Woo is seen not as an anomaly, but as a natural product of the system in which he thrives:... Korean society itself, which has nurtured him & allowed him to prosper even if he is not quite the "son of Pohang" he claims to be at his campaign rallies.‐ Projected Figures
Read More | Posted Aug 15, 2017
71% Cold Moon (2017) Furst's (maybe) supernatural tale unfolds in a manner that, without exactly breaking any new ground, makes the most of its backwards-looking classicism with a story that is similarly entombed in the past while looking forward to our present day.‐ Sight and Sound
Read More | Posted Aug 15, 2017
67% Verónica (2017) As the doctor interrogates her patient's buried past, the relationship between these very different women - one young and erotically charged, the other middle-aged and sexually repressed - becomes defined by projection, transference and role play. ‐ Sight and Sound
Read More | Posted Aug 15, 2017