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
Antrum: The Deadliest Film Ever Made (2018) Anton Bitel the po-faced documentary sections which frame this film-within-a-film also serve to muddy its waters further, making us question precisely what we may be sacrificing of ourselves when we willingly suspend disbelief and yield to art's illusory sway. EDIT
Posted Oct 15, 2019
Adoration (2020) Anton Bitel In a film that feels like Jean-Jacques Beineix's Betty Blue (37 2 le matin, 1986) rewritten as a YA fairytale, both transience and transmigration become key themes... EDIT
Posted Oct 11, 2019
Deerskin (2019) Anton Bitel all at once surreal mid-life crisis comedy and meta serial killer picture, with that special element of 'no reason' that makes Dupieux such an expert at defamiliarising everyday drama into a disorienting dream. EDIT
Posted Oct 11, 2019
Synchronic (2019) Anton Bitel mannered SF slyly challenges the politics of conservative nostalgia, as our African-American hero learns that, compared to his country's long history of violent hostility and division, there really is no better time (yet) than the familiar present. EDIT
Posted Oct 11, 2019
Joker (2019) Anton Bitel an uncomfortable, accusatory character study, as it catches us on one side or another of Fleck's misplaced laughter, and tries to get us all to dance to his bloody steps. EDIT
Posted Oct 2, 2019
Home (2008) Anton Bitel In showing a family's self-destructive intransigence (or is it self-preserving cohesion?), Ursula Meier unravels a modern fable in which the forces of conservatism and change pass each other by. EDIT
Posted Sep 15, 2019
() Anton Bitel the concrete stairwell in Paton's film rings hollow with the questionable morality of war, as these highly trained yet haunted men and women are forced, step by bloody step, either to retrace and reiterate past sins or, somehow, to rectify them. EDIT
Posted Aug 30, 2019
() Anton Bitel the film is also asking us to choose between these demonic stories and to find our favourite. Mine, however, may not be yours. For we are many - and it is hard to tell whether [these different episodes'] overall impact is a result of one or all. EDIT
Posted Aug 30, 2019
() Anton Bitel In a motif from Wes Craven, the film's families offer a distorted reflection of each other. But it would perhaps be a mistake to dwell on any subtext in a film that is for the most part just a cheap, gory romp without too much flesh on the bone. EDIT
Posted Aug 30, 2019
() Anton Bitel Roger may be the passenger, but this is ultimately Emerson's journey, as she learns to overcome her own demons and take control of the wheel. The resulting ride, too low-key to be called wild exactly, is nonetheless funny and strange. EDIT
Posted Aug 30, 2019
Rabid (2019) Anton Bitel This neon-lit reimagining certainly bears the original superficial structure of the original as well as many of its narrative details... but the film, like Rose herself, harbours something different underneath that will only gradually emerge EDIT
Posted Aug 30, 2019
() Anton Bitel That human drive towards self-destruction is the film's principal theme, and is unequivocally reinforced by the bunkered mid-credits coda. It's a blast alright, and you could die - laughing. EDIT
Posted Aug 29, 2019
To Your Last Death (2019) Anton Bitel Jason Axinn's hyperviolent anime offers an alien-eye view on our capacity for self-destruction at a familial and corporate level. EDIT
Posted Aug 29, 2019
Sadistic Intentions (2019) Anton Bitel in this story of artistic frustration, edgy fantasy and impossible desire, a triangular scenario will unfold from which all the characters get way past the point of simply extracting themselves EDIT
Posted Aug 29, 2019
() Anton Bitel if you like a Lynchian fugue & are curious to see how these tropes might play out amid the setting & culture of a religious Buenos Aires barreling along the bumpy road towards secularism, then Impossible Crimes lays out this contradictory conundrum EDIT
Posted Aug 29, 2019
Deadcon (2019) Anton Bitel The evil in this film - never fully rationalised - exploits virtual spaces to its own ends, giving rise to the best film about the demonic disorientation, fragmentation and paranoia of our wired existences since Daniel Goldhaber's Cam (2018). EDIT
Posted Aug 27, 2019
() Anton Bitel in and around this lodge, an old-fashioned murder mystery will gradually take shape, with a very modern twist - and any cliché on display is there merely to be knowingly ironised, in what is an amusing genre-savvy take on familiar horror tropes. EDIT
Posted Aug 27, 2019
The Black String (2019) Anton Bitel what starts as a comic character study of a young, disaffected loser quickly turns into a more sombre & sinister reading of his entrails. In denial of what he wants & in fugue from what he fears about himself, Jonathan will come apart at the seams. EDIT
Posted Aug 27, 2019
Bliss (2019) Anton Bitel Shot on 16mm, full of ecstatic sex and violence, and awash in a disorienting stylistic tics, reeling camerawork and overwhelming sound, it seduces, abducts and bludgeons the viewer into joining Dezzy on her long trip down into infernal apotheosis. EDIT
Posted Aug 24, 2019
() Anton Bitel Ortiz shows how delusions can grow and feed off themselves, and human error can create a chaotic chain of Coen-esque clusterfuckery. EDIT
Posted Aug 23, 2019
Cut Off (Abgeschnitten) (2018) Anton Bitel a story of revenge, though revenge of a far more complex & convoluted nature than hot-headed Paul originally has in mind - a revenge that exposes the tensions between public & private notions of justice against inveterate, unreformable criminality EDIT
Posted Aug 23, 2019
() Anton Bitel Perro is toxic not just because of his worsening condition, but because of an errant masculinity, shared with all the other male characters in the film, that chains him to a dog-eat-dog world of appetitive urges and ever-circling (self-)destruction. EDIT
Posted Aug 22, 2019
() Anton Bitel Rock, Paper and Scissors is all at once a claustrophobic chamber piece and a deranged three-hander, as its trio of characters find that they are as mutually incompatible as the three items in the game after which the film is named. EDIT
Posted Aug 22, 2019
Nekrotronic (2018) Anton Bitel all too knowing that it is far removed from the fragrant heights of 'respectable' cinema, but also aware that shit comes in many layers (including the good stuff). EDIT
Posted Aug 9, 2019
Fido (2007) Anton Bitel Enslaved, exploited and feared, the zombies stand in for a long history of African-American objectification and subjugation in a white-dominated, patriarchal United States, while also satirising contemporary obsessions with home security. EDIT
Posted Aug 6, 2019
One Deadly Summer (1983) Anton Bitel a tale of small-town rape-revenge and tragic myopia, with a versatile Isabelle Adjani EDIT
Posted Jul 31, 2019
Harpoon (2019) Anton Bitel the narrator, on his last take, ensures that, no matter how violent and vicious, manipulative and mendacious the crew, their vehicle remains darkly funny. EDIT
Posted Jul 26, 2019
() Anton Bitel ...ends up being an elegy not just for the man, but for the brand of bargain-basement cinema that he once made and somehow managed to sell. EDIT
Posted Jul 24, 2019
() Anton Bitel for a film so preoccupied with watching, the unseen, the overlooked and the erased prove just as essential. EDIT
Posted Jul 24, 2019
Rabid (1977) Anton Bitel Cronenberg casts [Chambers] in a different kind of skin flick, and allows her to weaponise her seductive charms and to penetrate those who would do the same to her - all in the service of an animalistic lust (for blood) that is Insatiable... EDIT
Posted Jul 22, 2019
Satanic Panic (2019) Anton Bitel ...dark satanic Mill Basin is a crucible not just for witchcraft, but for America's economic divide, with Sam playing "blue-collar badass" against an entitled élite that regards her proletarian cadre as a disposable instrument for its own desires. EDIT
Posted Jul 21, 2019
Knives and Skin (2019) Anton Bitel a luminous, dreamy panorama of a patriarchal nation still coming to terms with itself as it sings the same old tunes (in new arrangements) and longs for even the possibility of change or escape. EDIT
Posted Jul 18, 2019
Porno (2019) Anton Bitel It is at the point where the demonic seductress is inadvertently summoned that the film finds that sweet spot where horror and porn intersect - both of which, after all, deal in deep penetrations, bodily fluids and money shots. EDIT
Posted Jul 13, 2019
The Deeper You Dig (2019) Anton Bitel in a Stir of Echo(es), the 14-year-old revenant will take partial possession of Kurt's mind and body as well as of his temporary home, engendering in him an internal battle of the sexes. EDIT
Posted Jul 12, 2019
Darlin' (2019) Anton Bitel As issues of sex & religion, purity & pregnancy, vengeance & violence become horrifically confused, this kind of mixed message ensures Darlin' lingers in the mind - not least because these are the cruces of division in America's current culture wars EDIT
Posted Jul 8, 2019
Kindred Spirits (1984) Anton Bitel as the aunt's bunny boiler tendencies come to the fore, Kindred Spirits unmasks its own split personality, veering from a drama about the messy interrelationship between three women towards the shadowy spaces of a more conventional thriller. EDIT
Posted Jun 26, 2019
Caught (1949) Anton Bitel Amidst Ophüls' precise, at times deliberately oppressive mise-en-scène, these three characters play out the contradictions of the American dream itself. EDIT
Posted May 27, 2019
La Ronde (1950) Anton Bitel Its whole outlook on human desire is jaded and cynical, and yet the tone is breezily charming throughout. Here, love is bittersweet all round. EDIT
Posted May 27, 2019
Rondo (2019) Anton Bitel Barnhardt's deft, knowingly daft handling of all these elements is a tour de force of highly assured genre filmmaking, and the mark of a real talent emerging from cinema's more perverse, less salubrious end. EDIT
Posted May 25, 2019
The Rizen: Possession (2019) Anton Bitel there is something in the way that the past keeps infiltrating and haunting the present here that serves as a reflexive comment on the very nature of war mindsets as well as sequels, both doomed to repeat their respective histories... EDIT
Posted May 25, 2019
Axcellerator (2019) Anton Bitel ...punching far above its own weight (& budget) to create as many large-scale actions sequences as it can, & to get a whole lot of bang for its buck. It is derivative to a fault, but never takes itself too seriously, & delivers a geeky kind of charm. EDIT
Posted May 25, 2019
The Tangle (2019) Anton Bitel a slippery perspective on our future as all at once utopian and dystopian, paradisiac and paranoid, in what is a wonderfully stylised cyberpunk investigation into the all-too-human ghosts haunting our machines. And oh what a tangled web it weaves. EDIT
Posted May 25, 2019
After the Lethargy (2018) Anton Bitel Once again Carreté deftly traverses genre's shadowy borderlands, locating the most aggressive and invasive brand of otherness in the human, and along the way breeding a novel blend of sci-fi horror. EDIT
Posted May 25, 2019
Black Flowers (2018) Anton Bitel Kate's retention of family values in a world that has otherwise lost both its geographical and moral compass is what makes Black Flowers such a strange joy, in spite, or perhaps because, of all its tonal dissonances. EDIT
Posted May 25, 2019
Lucid (2017) Anton Bitel Like any incel, Zel is looking for reciprocated love, and in the end he finds it - but by then, the actions in his bed might all be in his head. EDIT
Posted May 22, 2019
Zoo-Head (2019) Anton Bitel though the circular structure rests in a sci-fi premise - a neurological method for supplementing cognitive dysfunction with dream fragments - Zoo-Head also uses its looping narrative to evoke different, more psychological brands of circularity EDIT
Posted May 20, 2019
November (2017) Anton Bitel November finds (sur)real beauty in all its mud, shit & grotesque characters, while grounding its madder ideas in a concrete earthiness. The results are like Hard to Be a God (2013) with sight gags - not just rich and strange, but also oddly sublime. EDIT
Posted May 13, 2019
The Bastards' Fig Tree (2017) Anton Bitel as The Bastards' Fig Tree shifts from the permanent rain of the Civil War to a sunnier post-war period, Rogelio goes from homicidal fascist henchman to humble saint, even if his buried history remains to be unearthed and faced by a later generation. EDIT
Posted May 10, 2019
Body at Brighton Rock (2019) Anton Bitel outdoors ordeal in which character & genre are pushed to the limits. Wendy's night in the woods, grounded by the natural surroundings but also coming with a hallucinatory, existential terror, is as much psychological journey as backwoods bivouac EDIT
Posted May 3, 2019
The Curse of La Llorona (2019) Anton Bitel La Llorona is, or at least once was, human; she is also the focus of a fear that right now is more generally prevalent in Trump's USA: an anxiety about illegal aliens importing their special brand of terror and taking over the American home. EDIT
Posted May 2, 2019