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, Katie Smith-Wong, Laurence Boyce, Matthew Turner
Rating Title/Year Author
Dolemite Is My Name (2019) Anton Bitel It's a great comedy, but also a very positive portrayal of brothers (and one sister) doing it for themselves at a time when Hollywood was looking elsewhere. EDIT
Posted Oct 19, 2019
Escape From Tomorrow (2013) Anton Bitel Taking the Mickey out of Disney's rose-tinted worldview, while also offering a rollercoaster ride through the psyche of a man losing his head, Moore's film paints a trippy picture of misery repressed & mortality sanitised. It's an astonishing debut. EDIT
Posted Oct 14, 2019
Zombi Child (2019) Anton Bitel Bertrand Bonello's latest is a multi-layered view of colonialism's legacy, resurrected in every new generation. EDIT
Posted Oct 7, 2019
Honeymoon (2014) Anton Bitel Leigh Janiak's assured debut condenses all the alienating scenes from a marriage into an SF/horror-inflected honeymoon. EDIT
Posted Oct 7, 2019
Hell House LLC (2015) Anton Bitel Hell House LLC keeps showing us behind the scenes of its own scares, while still scaring the crap out of us anyway. EDIT
Posted Sep 13, 2019
Aniara (2018) Anton Bitel Pella Kagerman and Hugo Lilja's adaptation of a 2018 sci-fi poem finds bleak beauty in a nihilisitic odyssey. EDIT
Posted Aug 31, 2019
() Anton Bitel Dan Bush's The Dark Red is a tale of maternity and madness, vampiric predation and class exploitation. EDIT
Posted Aug 28, 2019
() Anton Bitel Even if it is presented with luminous visuals and awe-inspiring special effects, this is a harrowing story, exposing the cracks in a family's tight-knit structure. EDIT
Posted Aug 28, 2019
The Banana Splits Movie (2019) Anton Bitel Mostly, though, the film is there to toy with our cosy ideas of nostalgia, showing that even the most dated cultural flotsam and jetsam can be reprogrammed to disturb, concealing beneath their rosy tint a bloody stain. EDIT
Posted Aug 26, 2019
The Wind (2018) Anton Bitel "This land, there's something wrong with it," says Lizzy, as the vast empty historical landscapes around her are already being planted with the seeds of American patriarchy. In the annals of feminist genre filmmaking, this feels pioneering. EDIT
Posted Aug 24, 2019
Dachra (2018) Anton Bitel First-time director Abdelhamid Bouchnak assimilates western tropes into a local horror story of a nation haunted by its past. EDIT
Posted Aug 24, 2019
Come To Daddy (2019) Anton Bitel Come To Daddy is itself something of a UFO - an oddity that comes out of nowhere, and switches rapidly in one direction and then another, so that by the end you cannot quite retrace where you have been taken. EDIT
Posted Aug 23, 2019
Pet Sematary (2019) Anton Bitel This remake resurrects the spirit of Stephen King's and Mary Lambert's originals, while still coming out different. EDIT
Posted Aug 8, 2019
The Changeling (1980) Anton Bitel Peter Medak's modern yet old-fashioned gothic places a decent, damaged man between dynastic conspiracy and supernatural vendetta. EDIT
Posted Jul 20, 2019
Stockholm (2018) Anton Bitel Robert Budreau's reimagining of the heist that gave us the term Stockholm syndrome is a strange, funny masquerade. EDIT
Posted Jun 22, 2019
2.5/5 Holy Lands (2018) Matthew Turner An unlikely double act of James Caan and Tom Hollander is the main reason to see this stodgy drama. EDIT
Posted Jun 21, 2019
2.5/5 The Outsider (2019) Matthew Turner The Outsider does enough to satisfy the basic demands of the genre and is never less than watchable, but it ultimately promises more than it delivers. EDIT
Posted Jun 14, 2019
Starfish (2016) Anton Bitel A.T. White's beautiful, sad film uses apocalyptic genre tropes as an expressive tool for the isolating, dissociative processes of grief. EDIT
Posted May 28, 2019
Mon Mon Mon Monsters (2017) Anton Bitel Mon Mon Mon Monster suggests that the bullying in Taiwanese society is systemic, building outwards from the education system where it first becomes endemic - and that the whole patriarchal system needs to be burnt down. EDIT
Posted May 25, 2019
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