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
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
() 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
() 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
Purdah (2018) Anton Bitel Sport may seem at the heart of things here, but in fact it is used merely as the competitive arena for a match between patriarchal values and an emergent spirit of greater liberation for women in today's India. EDIT
Posted Apr 26, 2019
I Trapped the Devil (2019) Anton Bitel ...the form that eventually emerges, part psychodrama, part demonic horror, is, in all its ambiguity, a satanically slippery genre hybrid. Amid all this family dysfunction, the devil is truly in the detail. EDIT
Posted Apr 26, 2019
() Anton Bitel With its isolationist electronic score and stunning visual panoramas, Hultgreen's minimalist experiment reduces an ailing, despairing human perspective to the visual language of ravaged landscape. EDIT
Posted Apr 15, 2019
Fugue (2018) Anton Bitel Following the musical mermaid coming-of-age parable The Lure (2015), Smoczyńska's second full-length film also focuses on alienated female experience, while this time around preferring a mode of slowly unfolding human mystery to piled-on oddities. EDIT
Posted Apr 13, 2019
Hong yi xiao nu hai 2 (2017) Anton Bitel Cheng Wei-hao's spooky sequel The Tag-Along 2 is both mountain hike and amusement park ride through the fraught dynamic of the mother-daughter relationship. EDIT
Posted Mar 26, 2019
The Tag-Along (2015) Anton Bitel replete with ghostly intrusions and a climax of woodland pandemonium, it is also taking the psychological pulse of a nation haunted by the seeds - already long sown, and firmly rooted in everyday angst and anxiety - of its own destruction. EDIT
Posted Mar 25, 2019
Q (1982) Anton Bitel [Quinn's] deep neediness, sense of emasculation, belief in nothing besides himself & strong streak of megalomania make him difficult to like, but also a mirror of 20th-century angst and alienation - & the perfect foil to the film's winged creature. EDIT
Posted Mar 24, 2019
Depraved (2019) Anton Bitel Adam's story is also about us, and our place in an atomised, synthetic world of streaming sensations, wounded history and broken identity. EDIT
Posted Mar 21, 2019
Us (2019) Anton Bitel with most of the cast members appearing in more than one rôle, it will leave you seeing double, forced to accommodate contrasting (if symmetrical) perspectives on the gross inequalities of the American way. EDIT
Posted Mar 20, 2019
Starry Eyes (2014) Anton Bitel a mumblegore Mulholland Dr., following a would-be startlet's (self-)destructive fugue through the dreamworld of Tinsel Town. EDIT
Posted Mar 17, 2019
Half Nelson (2006) Anton Bitel High ideals clash with Bush-era realities in this class debut - well balanced, wonderfully performed, and refreshingly free from cliché. EDIT
Posted Mar 9, 2019
() Anton Bitel The performances - in what is mostly a two-hander - are nuanced and charming, aided by a witty and resonant screenplay... it finds an ingenious way of both resolving and literalising the mystery of these lovers' eternally transitory relationship EDIT
Posted Mar 9, 2019
() Anton Bitel The film is bloody and bananas (and includes bunches of both in its exuberant narrative), using its limited budget to craft a gorily unhinged world of hell with a diabolically compromised innocent at its centre. EDIT
Posted Mar 9, 2019
Bullitt County (2017) Anton Bitel a character dramedy that soon shifts into something more tense and twisty, with its earthy realism offset by unexpected psychological flights of fancy and excursions into the hinterland territories of toxic masculinity. EDIT
Posted Mar 7, 2019
Nazi Undead (2018) Anton Bitel ...presents its horrors in infernally looping circles, going and coming around in an elegantly Sadean manner that allows for no escape. Here, it is not territory on a map but the human heart & soul that an ever-resurgent Nazism seeks to occupy. EDIT
Posted Feb 27, 2019
() Anton Bitel As the two women try to process their mixed-up feelings, the viewer too is thrown into confusion by the paradoxical nature of their parallel storylines, unsure how to determine what is real, and what is merely dream, fantasy or magic EDIT
Posted Feb 26, 2019
Last Sunrise (2019) Anton Bitel this back-to-basics universe is not quite as dark a place as you might expect EDIT
Posted Feb 26, 2019
Doe (2018) Anton Bitel the ideas are big, but the execution is flawed EDIT
Posted Feb 26, 2019
Monstrum (2018) Anton Bitel The film Monstrum too is a hybrid creature, combining elements of action, adventure, horror, politics, romance and comedy in a barreling, unwieldy form that will sweep even the most fastidious of viewers along its relentless narrative trajectory... EDIT
Posted Feb 26, 2019
The Head Hunter (2018) Anton Bitel With its grubby, lived-in production design, its astonishing, desaturated locations and its perfectly sustained intensity of mood, Jordan Downey's film is like Trollhunter (2010) mixed with Valhalla Rising (2009). EDIT
Posted Feb 24, 2019
The Time of Humans (2018) Anton Bitel This is on-the-nose allegory, even agit-prop, with all the characters reduced to symbols and archetypes. The escalating violence is as casually grounded in grubby realism as the wider, god's-eye-view imagery takes off in surreal flights of fancy. EDIT
Posted Feb 24, 2019
Prospect (2018) Anton Bitel Combining elements of The Defiant Ones (1958) and True Grit (whether Henry Hathaway's 1969 original or the Coen brothers' 2010 remake), Prospect may come with the interstellar trappings of sci-fi, but it has as much in common with a frontiers western EDIT
Posted Feb 22, 2019
My Friend 'A' (Yûzai) (2018) Anton Bitel Sombre and sad, yet offering glimpses of hope, it follows the walking dead casualties of trauma (be it bullying, abuse or murder) as they try, however vainly, to live full lives again. EDIT
Posted Feb 7, 2019
Yurigokoro (2017) Anton Bitel a sweet romance soon digresses to Misako's disturbingly sensational narrative (full of casual cruelty, lesbian self-harm and cold-blooded murder), with Ryosuke's own life gradually spiralling into an unhinged sort of melodrama. EDIT
Posted Feb 7, 2019
U: July 22 (Utøya 22. Juli) (2018) Anton Bitel On this real yet allegorical island, the personal and the political clash, and a nation's innocence is destroyed. EDIT
Posted Feb 5, 2019
Dogman (2018) Anton Bitel reveals the limited room for power play amongst those living - in various kinds of cages - on the outer edge of Italian society. EDIT
Posted Feb 5, 2019
Concealed (2017) Anton Bitel as this hybrid film, all at once fish-out-of-water thriller & domestic tragedy, constantly switches between these 2 modes, it generates ambiguity, even mystery from its own mismatched, dysfunctional plotting - with everything hidden in plain sight. EDIT
Posted Feb 5, 2019
211 (2018) Anton Bitel The only real surprise here is that Mike repeatedly misses the opportunity to declare, "I'm too old for this shit." Watching 211, you'll sure feel that way... EDIT
Posted Feb 5, 2019
Sandome No Satsujin (2017) Anton Bitel Misumi may be on trial, but Kore-eda also interrogates the workings - often arbitrarily formulated, even prejudiced - of the Japanese justice system, & its slippery relationship to the higher notions of fairness & truth which it is supposed to serve. EDIT
Posted Feb 5, 2019
Terminal (2018) Anton Bitel Beautifully designed and lit, yet ultimately as hollow as the old ventilation shaft at the station's centre, Terminal has nowhere really to go once its events have been set in motion and its trajectory has become clear EDIT
Posted Feb 5, 2019
Survivors Guide to Prison (2018) Anton Bitel this new documentary promises to be a kind of self-help manual for the criminal classes, but in fact offers a synoptic analysis of everything that is malfunctioning in America's machinery of criminal justice EDIT
Posted Feb 4, 2019
Spring, Summer, Fall, Winter ... and Spring (2003) Anton Bitel Kim invites us, like the mountain-top Buddha, to see a wider panorama wherein human transgressions, though neither overlooked nor indeed excused, form part of a bigger picture. EDIT
Posted Feb 4, 2019
My Friend Dahmer (2017) Anton Bitel It is only our foreknowledge of what Jeffrey will become that allows us to register all the early warning signs, right down to Joyce's edict.., heavily ironised for the viewer by the weight of future history: "New house rule: we eat our mistakes." EDIT
Posted Feb 4, 2019
King of Thieves (2018) Anton Bitel this 'one last job' serves equally as a metaphor for a Britain rapidly losing its greatness. EDIT
Posted Jan 12, 2019
Who's Watching Oliver (2017) Anton Bitel a strange beast, by turns repellent, comical and sentimental. Its breezy jazz soundtrack sets an uneasily wrong note, while its performances are good enough to get us on side with the unspeakable, the atrocious and the unhinged... EDIT
Posted Dec 24, 2018
Alice In The Underworld (2011) Anton Bitel Much as its characters are adorned with mannered couture from a time long past, Terashima's film dresses itself in self-consciously archaic cinematic forms. EDIT
Posted Dec 24, 2018