VODzilla.co 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, Laurence Boyce, Matthew Turner
Rating Title/Year Author
Darkness Visible (2019) Anton Bitel Neil Biswas' Indian émigré horror is both a mystical murder mystery and an Oedipal chronicle of deaths foretold. EDIT
Posted May 16, 2019
Behind the Mask: The Rise of Leslie Vernon (2006) Anton Bitel a witty, smart, often very funny killer thriller, reverse-engineered so that all its workings show EDIT
Posted May 11, 2019
The Evil Within (1990) Anton Bitel Alain Robak brings an epoch-spanning genetic perspective to his monster movie of maternity and madness. EDIT
Posted Apr 28, 2019
Loro (2018) Anton Bitel Party politics abound in Paolo Sorrentino's imaginative portrait of Sergio Berlusconi as an ageing, empty salesman-cum-seducer. EDIT
Posted Apr 19, 2019
Phantasm (1979) Anton Bitel a pre-adolescent's pre-Lynchian fugue from mortality's mourning side EDIT
Posted Apr 13, 2019
Horror Noire: A History of Black Horror (2019) Anton Bitel Xavier Burgin's documentary insightfully surveys the history of black - and black female - representation in horror cinema. EDIT
Posted Mar 22, 2019
5/10 America Adrift (2016) Matthew Turner While Lopez's direction and structural approach are sound, the film flounders in other areas [and] it lacks the investment necessary to connect on an emotional level. EDIT
Posted Mar 19, 2019
8/10 Flitzer (2017) Matthew Turner Packed with hilarious gags and great comic performances, this is an unsung gem of a sports comedy that is well worth seeking out. EDIT
Posted Mar 15, 2019
Under the Silver Lake (2018) Anton Bitel Self-conscious enough about its own trash status to include a shot of faeces floating in a toilet bowl, yet sophisticated enough to double-bluff its own meaning..., this is an awkward, ungainly modern movie-making myth for the #MeToo generation. EDIT
Posted Mar 12, 2019
Blood Punch (2013) Anton Bitel Madellaine Paxson's black comedy horror uses its Groundhog Day structure to capture cycles of abuse, addiction and violence. EDIT
Posted Mar 8, 2019
Sexykiller, morirás por ella (2008) Anton Bitel Sexy Killer is an equal opportunities film made for a world in which women are still not regarded as equal, helping Bárbara get away not just scot-, but also Santiago-. Ángel- and Álex-free. The irony here is that no man is a match for Bárbara.., EDIT
Posted Feb 23, 2019
Piercing (2018) Anton Bitel A darkly comic giallo-esque romance, torturously literalising all the dynamics of S&M, while accommodating the persistence of trauma. EDIT
Posted Feb 22, 2019
Sweet, Sweet Lonely Girl (2016) Anton Bitel as we watch Adele's story unfold as a life in crisis, in decline and in withdrawal, we come to understand, obliquely, how Dora may have ended up where and how she is. The future is already inscribed in the past. EDIT
Posted Feb 8, 2019
6/10 Hummus! The Movie (2015) Matthew Turner Focusing on a small group of diverse characters, Rosenfeld makes his point in engaging fashion, while the evident passion for hummus on screen proves decidedly infectious. EDIT
Posted Feb 8, 2019
The Stendhal Syndrome (1996) Anton Bitel charts an artful exploration of a rape victim's twisted trauma. EDIT
Posted Jan 26, 2019
7/10 Stay Human (2018) Matthew Turner A powerful and uplifting documentary with a vital and timely message for our troubled times. EDIT
Posted Jan 25, 2019
6/10 The American Meme (2018) Matthew Turner An engaging documentary that deserves your 'likes'. EDIT
Posted Jan 12, 2019
The Interior (2015) Anton Bitel Absurdist yet unnerving, The Interior is an elliptical tale of existential horror in which one man's withdrawal from civilisation is also a retreat from reality, and a struggle with the relentless encroachment of mortality. EDIT
Posted Jan 12, 2019
9/10 Newly Single (2017) Laurence Boyce Caustic, cynical and clever, this funny takedown of the LA dating scene is a richly satisfying indie gem. EDIT
Posted Jan 9, 2019
Cold Prey 2 (2008) Anton Bitel Mat Stenberg's sequel..., as a slasher, is merely serviceable, but comes with its own particularities of local colour to distinguish it from the competition (already dwindling by the Noughties). EDIT
Posted Dec 24, 2018
The House That Jack Built (2018) Anton Bitel As von Trier seeks our own understanding & sympathy, the question he keeps provocatively posing is not only whether Jack's work can be considered art, but also how different von Trier's own art, showing us humanity & life in negative, is from Jack's. EDIT
Posted Dec 14, 2018
4/5 Disobedience (2017) Matthew Turner Compelling, erotic and provocative. EDIT
Posted Dec 1, 2018
The Haunting of Hamilton High (1987) Anton Bitel Mary Lou may be the devil inside, but Vicki is also on her own journey of self-discovery, and her sexual awakening - if perhaps not all the associated murders - is just part of growing up, no matter what the decade. EDIT
Posted Nov 15, 2018
Prom Night (1980) Anton Bitel "Love me till I die", runs the chorus of the film's climactic song, all at once danse macabre and memento mori, as the youthful promise of these writhing bodies is cut tragically short by someone who knows what they did six summers ago. EDIT
Posted Oct 31, 2018
Apostle (2018) Anton Bitel Aided by Matt Flannery's reeling cinematography and excellent performances all round, Evans transforms this hermetic isle into a place of mystery, morbidity and miracle. EDIT
Posted Oct 9, 2018
Demons 2: The Nightmare Returns (1987) Anton Bitel like its predecessor, this sequel, with its weird stylisations, is almost a study in inauthenticity - but that is not out of keeping with a film where reality warps and fiction comes to life. EDIT
Posted Oct 6, 2018
Scanners (1981) Anton Bitel David Cronenberg's coolly clinical sci-fi Scanners is mind-blowing art for outsiders. EDIT
Posted Sep 15, 2018
Demons (1985) Anton Bitel Lamberto Bava's postmodern pandemonium presents the potential of horror viewing itself to unleash the beast within. EDIT
Posted Sep 3, 2018
Ghostland (2018) Anton Bitel It's a clever, twisty tale of two sisters, where different fantasies clash amid deep, dark trauma EDIT
Posted Aug 25, 2018
The Battery (2012) Anton Bitel Jeremy Gardner's feature debut reduces the zombie apocalypse to an edgy buddy pic. EDIT
Posted Aug 17, 2018
We Go On (2016) Anton Bitel It dismantles the horror genre, breaking it down to its core elements of fear and death, and then re-editing them into something satisfyingly profound. EDIT
Posted Aug 3, 2018
Deathdream (1974) Anton Bitel ...uses acceptable forms of horror (the walking dead!) to reflect and allegorise real traumas that are a lot less acceptable. EDIT
Posted Jul 21, 2018
8/10 Path of Blood (2018) Matthew Turner This is frequently a difficult film to watch, but it remains an essential historical document, with something to say about the banality of evil and the way naïve young men are radicalised. EDIT
Posted Jul 19, 2018
La Grande Bouffe (1973) Anton Bitel Marco Ferreri's art-fart satire of bourgeois patriarchal insatiability goes down nicely. EDIT
Posted Jul 6, 2018
Hellbound: Hellraiser II (1988) Anton Bitel The first (and best) Hellraiser sequel takes us to an Escher-like underworld of surrealist psychodramas. EDIT
Posted Jun 22, 2018
The Housemaid: Co Hau Gai (2016) Anton Bitel Derek Nguyen's feature debut is a horror whose duplicitous gothic taps right into the contradictions of colonialism. EDIT
Posted Jun 19, 2018
Nelyubov (2017) Anton Bitel Eventually, as in L'Avventura (1960), the quest will come to an end, and a prickly normality will resume. For while Alexey may be the film's absent focus, this is also a slow-motion portrait of two people lost in their lives and longing for change... EDIT
Posted Jun 12, 2018
It Stains the Sands Red (2016) Anton Bitel a fresh, smart and funny tale of undead survival, feminist awakening, emerging necrophilia and maternal redemption. EDIT
Posted Jun 10, 2018
Mirror, Mirror (1990) Anton Bitel Putting the entity in adolescent identity, Marina Sargenti's horror film holds a postmodern mirror to teen empowerment, narcissism and sociopathy. EDIT
Posted Jun 9, 2018
Father's Day (2011) Anton Bitel it upends the conventions of rape revenge by making all the victims male, and having its killer literally Fuch the patriarchy.... It is all at once amateurish and sophisticated, funnily wrong and shockingly hilarious. EDIT
Posted May 14, 2018
Patrick (1978) Anton Bitel Richard Franklin's thriller injects medical ethics with a psychosexual cocktail. EDIT
Posted Apr 10, 2018
Arachnid (2001) Anton Bitel Arachnid is so dumbed-down that even its resident spider expert/expositor, Dr Henry Capri (Ravil Isyanov), has as his one academic credential a published book named "Arachnid fun facts" EDIT
Posted Mar 23, 2018
Annihilation (2018) Anton Bitel the kind of allegorical, even spiritual, sci-fi found in Solaris and Stalker, or, more recently, in Imitation Girl, in which characters are on a quest to find their identity in alterity, their self in otherness, & their innermost being in the alien. EDIT
Posted Mar 10, 2018
Bombshell: The Hedy Lamarr Story (2017) Anton Bitel This dichotomy - between the emptiness of glamour and the great power of intellect - is what propels Alexandra Dean's debut documentary. EDIT
Posted Mar 9, 2018
Mute (2017) Anton Bitel the clash of tropes and types seems part of the point, as Jones brings the obsolescent values of cinema's silent era (embodied by Leo) into collision with a less rooted postmodern future, and sees what survives to emerge from the murky waters. EDIT
Posted Feb 24, 2018
Stake Land (2010) Anton Bitel This landscape, although dressed in the trappings of genre, is a thinly veiled exaggeration of America's current, divisive culture wars, with Mickle and Damici leaving little doubt as to where they themselves stand or what is at stake for humanity. EDIT
Posted Feb 23, 2018
Grave Encounters 2 (2012) Anton Bitel no film takes this postmodernism quite so far as John Poliquin's Grave Encounters 2, which... produces a conceptual hall of mirrors to match the labyrinthine asylum in which filmmaking characters will eventually become trapped (again). EDIT
Posted Feb 9, 2018
Cronos (1993) Anton Bitel "Not everything is garbage," Dieter insists to his thuggish nephew Angel (Perlman)... Del Toro, too, knows that he is working in a genre typically dismissed as trash, but nonetheless, like an alchemist, transmutes it into pure cinematic gold. EDIT
Posted Feb 5, 2018
Grave Encounters (2010) Anton Bitel what Grave Encounters lacks in substance, it more than makes up for in real, undeniable scares. EDIT
Posted Jan 26, 2018
The Initiation (1984) Anton Bitel offsets fun, funny co-eds (bolstered by Charles Pratt Jr's arch dialogue) against deep psychological traumas - and its duplicitous narrative ends with a twist that is hard to see coming, yet satisfies by playing studiously fair with the viewer. EDIT
Posted Jan 14, 2018