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Anton Bitel

Anton Bitel's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Biography:

Dr Anton Bitel was born in Australia in 1970, and has lived in the UK since 1989. Now a father of twins, occasional academic and full-time caffeine junkie, he compensates for a general sense of disgruntlement by moping about in darkened cinemas watching other people's joys and sorrows. He seeks elusive thrills from all genres (even romantic comedy), but tends to prefer anything extreme, odd, miserable or tawdry. He is at home with horror, 'arthouse', the avant garde and Oriental cinema. Anton currently freelances for Film4, musicOMH (where he is a staff writer), Eye for Film, Film International and Little White Lies, and was for three years one of the principal contributors to the now semi-defunct Movie Gazette.

Favorites:

Eraserhead Brazil Spring, Summer, Autumn, Winter...and Spring Apocalypse Now The Texas Chainsaw Massacre (1974) M. Houlot's Holiday Ichi the Killer Last Year in Marienbad Batman (1966) Synecdoche, New York

Critics' Group:
,
Location:

Oxford, UK

Reviews

Movies 온라인카지노추천 Shows
Sister Midnight (2024) 96% 4/5 “Karan Kandhari’s film about a misanthropic newlywed giving into her feral impulses is an unpredictable, genre-bending delight.” – Little White Lies Mar 12, 2025 Full Review Restless (2024) 96% “This suburban siege thriller is also a black comedy about burying the past” – Sight & Sound Mar 10, 2025 Full Review Wolf Man (2025) 50% “An unusually intimate werewolf film whose protagonist, though turning irreversibly atavistic, still remains half modern and half man to the bitter end.” – Sight & Sound Jan 17, 2025 Full Review Time Travel Is Dangerous (2024) 90% 4/5 “An endearing, surreal and funny portrait of friendship lasting across time.” – SciFiNow Oct 26, 2024 Full Review Terrifier 3 (2024) 78% “continues to confront us with the ever-uncomfortable question of not just what we are willing to watch, but why. And there is more to come. A cliffhanger ending suggests that this third entry is no trilogy closer. Art, you see, good or bad, never dies. ” – Sight & Sound Oct 11, 2024 Full Review Kill, Baby... Kill! (1966) 100% “A story of collective guilt & implacable vindictiveness, as the past keeps returning to prey vampirically on the present - but also a story that travels through darkness to the dawn, ushering in a new epoch, exorcised of all diabolical vestiges.” – Little White Lies Sep 27, 2024 Full Review The War of the Worlds: Next Century (1981) “Szulking’s bitter satire shows the state playing us all as semi-willing puppets to someone else’s script” – Little White Lies Sep 21, 2024 Full Review Cuckoo (2024) 79% “Amid unsettling sound design and plotting that is in every sense loopy, questions are raised about nature and nurture, and about human bonds that go beyond the conventional norms of genetics and biology. ” – Sight & Sound Aug 28, 2024 Full Review Saint Clare (2023) “Mitzi Peirone’s serial-killing psychodrama pits a damaged Catholic schoolgirl against small-town male toxicity” – SciFiNow Aug 25, 2024 Full Review Azrael (2024) 71% “E.L. Katz’s post-apocalyptic survival thriller pits a determined young woman against a cult community of believers” – SciFiNow Aug 25, 2024 Full Review 7 Keys (2024) “Joy Wilkinson’s impressive feature debut is all at once city symphony, mobile romance and tense urban psychothriller ” – SciFiNow Aug 25, 2024 Full Review Members Club (2024) 91% “Marc Coleman’s horror comedy pits four ageing male strippers against an even older witch who wants their manhood” – SciFiNow Aug 25, 2024 Full Review Strange Darling (2023) 96% “There are no safe words to describe JT Mollner’s twisted hookup of dating etiquette and serial killer thrill-seeking” – SciFiNow Aug 25, 2024 Full Review The Last Voyage of the Demeter (2023) 50% “André Øvredal’s fatalistic oceanic horror revamps Stoker’s seafaring slaughter for a multiracial future.” – SciFiNow Aug 25, 2024 Full Review Hauntology (2024) “Parker Brennon’s LGBTQ ghost story collection allegorises a young black queer woman’s embrace of the difference running in her family” – SciFiNow Aug 24, 2024 Full Review Shelby Oaks (2023) 79% “Chris Stuckmann’s occult horror finds missing persons, maternal anxieties and madness between its multi-mediated textures” – SciFiNow Aug 23, 2024 Full Review Broken Bird (2024) 100% “Joanne Mitchell’s mortuary psychodrama disinters madness from mourning and poetry from perversion.” – SciFiNow Aug 22, 2024 Full Review Tuesday (2023) 76% “Tuesday is a magical realist allegory, dramatising our feelings about mortality – grief, denial, acceptance, despair – and interrogating what a good death might even mean.” – Little White Lies Aug 17, 2024 Full Review Trap (2024) 57% “These tensions allow a family’s light and dark sides to dance together on the same stage, with every step butchering our moral sympathies. ” – Sight & Sound Aug 11, 2024 Full Review Hell Hole (2024) 84% “The Poser/Adams family’s latest excursion mines gonzo depths to unearth monstrousness and maternity within the male members of a fracking crew.” – SciFiNow Jul 30, 2024 Full Review The Dead Thing (2024) 83% “In Elric Kane’s erotic ghost(ing) story, an alienated young woman finds her kindred spirit in a promiscuous lost soul.” – SciFiNow Jul 27, 2024 Full Review Dark Match (2024) 68% “Lowell Dean’s Eighties-set action horror has a sidelined pro fighter wrestling with a Satanic cult, her own demons and intersectional discrimination” – SciFiNow Jul 22, 2024 Full Review Carnage for Christmas (2024) 90% “Alice Maio Mackay’s queered Santa slasher exposes bigotry and prejudice as a small Australian town’s historical legacy” – SciFiNow Jul 22, 2024 Full Review Bookworm (2024) 91% “Ant Timpson’s charming family picture sets an estranged father and daughter on a quest for a cryptid cat, and for reconciliation” – SciFiNow Jul 19, 2024 Full Review Longlegs (2024) 86% “...as all these characters are being forced to play to someone else’s mean-spirited script, domestic nests are cuckooed, no one is a free agent, and ultimately Perkins himself is the master manipulator and the real devil. ” – SciFiNow Jul 8, 2024 Full Review
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