Projected Figures

Projected Figures is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Anton Bitel
Rating Title/Year Author
Clay's Redemption (2020) Anton Bitel the film is chronicling, over one or two long nights in London, a takeover not just of underworld fiefdoms, but of genre itself, as the familiar conventions of the gangster film are deconstructed and remythologised before our eyes. EDIT
Posted Jan 25, 2021
Hunted (2020) Anton Bitel a potent allegory of misogynistic, murderous patriarchy and wild feminine nature, of impotent predation and reversed victimhood. EDIT
Posted Jan 13, 2021
Go/Don't Go (2020) Anton Bitel in its way, this is a breakup (and recovery) movie, merely told in apocalyptic idioms, as one man faces not so much societal collapse as his own mental meltdown. EDIT
Posted Jan 5, 2021
Our Meal for Tomorrow (Bokura no gohan wa ashita de matteru) (2017) Anton Bitel Here romance is a mere peg upon which all manner of observations on the human condition can be hooked EDIT
Posted Jan 3, 2021
The Cabinet of Dr. Caligari (1919) Anton Bitel the film's deep shadows & distortions of perspective introduced to cinema the psychedelic techniques of German expressionist painting & architecture, launching a homegrown film movement and inspiring the stylisations of American horror and film noir EDIT
Posted Jan 3, 2021
Jay and Silent Bob Reboot (2019) Anton Bitel Unifying not just the Askewniverse films (with an incredible array of cameos from their actors), but also the Marvel, DC and Star Wars universes, this is an odd coupling of sophisticated all-consuming postmodernism and defiantly unfunny puerility. EDIT
Posted Jan 3, 2021
Older (2020) Anton Bitel By allowing sex and death to encroach upon the boundaries of its own genre, Older feels a suitably mature take on the romantic comedy. EDIT
Posted Jan 3, 2021
Blood From Stone (2020) Anton Bitel a US-set neo-western vampire chronicle, a saga of domestic trauma, an addiction narrative, and a vision of a divided, indeed 'Balkanised' America where the discrete desires to conserve & progress, kill & cure, represent an eternal, bloody struggle. EDIT
Posted Jan 2, 2021
Cup of Cheer (2020) Anton Bitel Cup of Cheer gets to have its cake and eat it too, sending up not just the terribly hackneyed Hallmark Christmas films that fill our screens around this time of year, but also itself. EDIT
Posted Dec 19, 2020
The Curse of Hobbes House (2020) Anton Bitel present[s] Brexiting Britain as a fable for adults where perhaps the greatest horror is that it is already too late to achieve the film's idealised solution for the UK's problems. EDIT
Posted Dec 15, 2020
Beasts Clawing at Straws (2020) Anton Bitel Doomed by their own wayward pursuit of ill-gotten gains, all these characters here are on barrelling descents towards sticky ends, and so together their plots form a messily moral mosaic, lit in noirish neons, of greed's corrupting power. EDIT
Posted Dec 13, 2020
The Woman Who Ran (2020) Anton Bitel subtle and delicate - perhaps even slight - but viewers may wish to emulate Gam-hee when she returns to a cinema to let an apparently event-free arthouse film wash back over her a second time. EDIT
Posted Dec 11, 2020
Cut and Chop (2020) Anton Bitel we get to have our preferred cut & eat it too in a work, playfully metacinematic right from its title, that cannibalises the familiar tropes of horror as it allows its protagonist to find, as the director puts it, the "antagonist in Cut and Chop." EDIT
Posted Dec 9, 2020
32 Weeks (2020) Anton Bitel Like the heroine of a romantic melodrama, Cole must choose between two men in her life - but she also struggles to recall what her relationship with either was like, as the details remain lost in the elliptical spaces between her partial memories. EDIT
Posted Dec 7, 2020
The Other Side of the Door (2016) Anton Bitel ...this British-Indian co-production is full of thresholds and liminal spaces... EDIT
Posted Dec 7, 2020
Rose: A Love Story (2020) Anton Bitel as a couple seeks mutual warmth within their own fragile ecosystem & shuts out everyone else, the situation in which they have become willingly trapped... designed to keep a bloodthirsty beast tamed... in fact it has made monsters of them both. EDIT
Posted Dec 6, 2020
Storage 24 (2012) Anton Bitel While Storage 24 makes for slickly competent SF horror, it suffers, as perhaps its very title implies, from a by-numbers approach to Alien-style materials that have already been revisited since 1979 in a dizzying surfeit of [films]. EDIT
Posted Nov 25, 2020
The Penultimate (2020) Anton Bitel a shabbily absurdist dystopia, somewhere in the grey area between Lewis Carroll and Franz Kafka. EDIT
Posted Nov 22, 2020
The Twentieth Century (2019) Anton Bitel a retrofuturist fantasy of the life lying ahead for the young [Mackenzie] King, conjured as a fragmented pantomime of Canada's (and the world's) twentieth-century history - and going full Maddin on its perversion of the Canadian character. EDIT
Posted Nov 18, 2020
O Cemitério das Almas Perdidas (2020) Anton Bitel A gory tale of the eternally returning struggle between good and evil, The Cemetery of Lost Souls turns Brazilian history into its own heady, bloody myth, making surreally theatricalised horror fiction of horrors entirely real. EDIT
Posted Oct 30, 2020
The Nights Before Christmas (2019) Anton Bitel Corporate greed and neglect may in the end be confronted, but we keep being reminded that the ones doing the confronting are callous psychopaths as much as a victims, muddying the film's moral waters and mixing its message. EDIT
Posted Oct 27, 2020
Lucky (2020) Anton Bitel here the Man embodies not only May's daily grind against a system ('the Man') that is always wearing her down, but also every woman's struggle in a world of constant undermining, aggression and oppression from men. EDIT
Posted Oct 27, 2020
Origin Unknown (2020) Anton Bitel Rigoberto Castañeda's genre-blurring Origin Unknown (Sin Origen) shows a family trying to maintain its fragile intergrity while under siege EDIT
Posted Oct 27, 2020
Scavenger (2020) Anton Bitel exploits post-apocalyptic tropes to show the meat market of unregulated capitalism EDIT
Posted Oct 27, 2020
Embryo (2020) Anton Bitel the fragmentary nature of Embryo makes the film its own UFO - strange, elusive and difficult to identify. As inchoate and provisional as its title implies, Embryo is a palimpsest for a different, unfinished film, desperate to be brought to term. EDIT
Posted Oct 27, 2020
Cyst (2020) Anton Bitel less tawdry schlock than a knowing pastiche of it, and there is real affection in all its gleefully spurting ejaculations and ichorous outpourings, making it a heavily gendered 'issue' movie like no other. EDIT
Posted Oct 27, 2020
Alien on Stage (2020) Anton Bitel much like Ridley Scott's film, the documentary is a celebration of working men and women co-operating against all odds to get their alien out. EDIT
Posted Oct 27, 2020
Heckle (2019) Anton Bitel everything here - from the two-dimensional characters to the bland kills - feels perfunctory, while the killer's identity is completely unguessable, requires an overblown excess of exposition in the film's final act & still makes very little sense EDIT
Posted Oct 27, 2020
Butchers (2020) Anton Bitel a self-consciously derivative carve-up of The Texas Chain Saw Massacre and Wrong Turn EDIT
Posted Oct 27, 2020
Babysitter Must Die (2020) Anton Bitel falls somewhere between Becky (2020) and Ready Or Not (2019) - and it also, like Glass' previous Orc Wars (2013), gradually admits the supernatural and the Lovecraftian into its otherwise grounded setting. EDIT
Posted Oct 27, 2020
Breeder (2020) Anton Bitel Jens Dahl's survival SF thriller Breeder achieves its own longevity by genetically merging class/gender inequalities and relationship kinks. EDIT
Posted Oct 27, 2020
Let's Scare Julie (2020) Anton Bitel DP Chuck Ozeas' intimate handheld camerawork - aided greatly by the natural performances of the young women & their free-associative banter - lends everything an air of casual realism, making the irruption of the irrational all the more alarming. EDIT
Posted Oct 24, 2020
Broil (2020) Anton Bitel turns a fraught family get-together into an epic of multi-dimensional proportions. Drake's second feature following Animals (2012) is an ambitious, elaborate, well-balanced menu that comes cooked just right and perfectly presented. EDIT
Posted Oct 24, 2020
The World We Knew (2020) Anton Bitel The World We Knew is a gangland ghost story depicting masculinity in crisis. It is also a very impressive first feature, scripted with nuance, mounted with confidence and performed with tragic humanity. EDIT
Posted Oct 24, 2020
Dangerous to Know (2020) Anton Bitel the ultimate master puppeteer is [wr./dir.] Simpson himself, sadistically manoeuvring us to right where he wants us, and forcing us to be witnesses, whether willing or otherwise, to the calculation of his plotting and the execution of his artistry. EDIT
Posted Oct 24, 2020
Spare Parts (2020) Anton Bitel Andrew Thomas Hunt's Spare Parts deconstructs the very girl power that it asserts in an arena where only patriarchy never dies. EDIT
Posted Oct 23, 2020
The Owners (2020) Anton Bitel a violent, messy clusterfuck of rural rapacity and hellish homemaking, where crime does not pay, and where sometimes it is best, after all, not to know what is going on behind closed doors EDIT
Posted Oct 23, 2020
Woman of the Photographs (2020) Anton Bitel this enigmatic feature offers a whole album of ideas about self, image and self-image, and leaves it to the viewer to see the bigger picture. EDIT
Posted Oct 23, 2020
Don't Look Back (2020) Anton Bitel a supernatural murder mystery where it is not enough to be a casual onlooker. EDIT
Posted Oct 23, 2020
The Sinners (2020) Anton Bitel this dreamily shot, softly lit story of adolescent angst finds itself switching between the different registers of Sofia Coppola's The Virgin Suicides (1999), Andrew Fleming's The Craft (1996) and David Fincher's Se7en (1995). EDIT
Posted Oct 22, 2020
Dead (2020) Anton Bitel Marble and Tiggs form an improbable buddy act, evoking the undead cop comedy of Mark Goldblatt's Dead Heat even as their undercover infiltration of Wellington's gay club scene plays like an absurdist Kiwi retelling of William Friedkin's Cruising. EDIT
Posted Oct 22, 2020
The Brain that Wouldn't Die (2020) Anton Bitel ....finds a new postmodern, parodic body for the severed head of an early Sixties sci-fi B movie. EDIT
Posted Oct 22, 2020
Vicious Fun (2020) Anton Bitel The result is a self-aware skewering of decades-old fashions and sensibilities that have still left their bloody mark on our own era of genre filmmaking. EDIT
Posted Oct 13, 2020
It Cuts Deep (2020) Anton Bitel Nicholas Santos' It Cuts Deep uses a heady mix of character comedy and slasher tropes to skewer a crazy kind of toxic masculinity. EDIT
Posted Oct 13, 2020
Evil Boy (2020) Anton Bitel Some people can never stop clinging to what is no longer there, even when they know that it is not... and it is this paradox which the film captures with both an uncanny sense of dread and a real emotional intelligence. EDIT
Posted Oct 13, 2020
Anonymous Animals (2020) Anton Bitel No matter whether this represents Sadean surrealism, vegetarian tract or nature's revenge, it certainly reflects back at us that strangest and cruellest of creatures, the human animal. EDIT
Posted Oct 13, 2020
Padmavyuha (2020) Anton Bitel Raj Krishna's not-quite-short film Padmavyuha stages a man's crisis of faith as a genre-bound conspiracy investigation EDIT
Posted Oct 13, 2020
() Anton Bitel One might ask why Ibáñez felt a need to revisit the themes of his father's film - but perhaps the more pertinent question is why the mistreatment and mortality of the world's youngest humans has changed so little in 43 years. EDIT
Posted Oct 11, 2020
Frank & Zed (2020) Anton Bitel Blanchard's amiable, low-budget labour of love will have you smiling through the slaughter, while recognising that the real monsters are those power-hungry Svengalis and demagogues who make puppets of us all. EDIT
Posted Oct 11, 2020
Blackout (2007) Anton Bitel Blackout gets stuck between genres, without enough decent characterisation (or uninterrupted tension) to take it to the next level. EDIT
Posted Oct 6, 2020