Movie reviews of Eric Hillis

Paradise is Burning is a nostalgic treat for anyone who fondly recalls the childhood joy of breaking adult rules. Review

Both approaches are interesting in their own right, though the Danish version will likely prove the more relatable for female viewers of Anne's vintage. Review

Even for an atheist like myself Pandemonium is a deeply upsetting watch. While it's one of the most thematically dark films I've seen in some time, Pandemonium also boasts humour of the blackest kind. Review

On a technical level The Wait is an impressive undertaking all round. The acting, especially by Clavijo, is beguiling, and Gutiérrez and cinematographer Miguel A. Mora make great use of the lonely expanse of the Andalusian countryside to cement their protagonist's emotional and physical isolation. But it's mostly hitting beats we've seen before in countless segments of horror anthologies... Review

A few more passes at the script might have consolidated Alone Together into a more convincing supernatural thriller, but in its current form it's a frustrating misfire. Review

Said monster is an impressive creation, either stop-motion or a convincing digital approximation of such. But it's also a little too goofy for a movie that takes itself as seriously as The Deep Dark, and would look more at home if it was battling Bruce Campbell rather than a group of acclaimed French thespians. Review

For a film that sets up so many possibilities as to why Alice has found herself in this scenario, the ending here feels almost insulting to the viewer's investment over the previous 90 minutes. Review

You may find yourself mouthing the words "well, that's weird" at regular intervals throughout My Mother's Eyes, but there isn't much food for thought. Review

By the end you're not entirely sure what you've just watched, but you know it was a movie that was both unique in its vision while betrothed to genre fare of the past. Review

The whole thing feels like an obligatory effort to wring some more money out of a dying franchise, and it's only the occasional clever cenobite design that offers anything new of note to the film. Review

With some striking cinematography by Gerry Lively and the sort of inventive production design the series had become known for at this point, Hellraiser III is a reminder of how great mainstream horror movies looked before the blandness of Scream and its teen horror clones took over in the second half of the '90s. Review

While it's never remotely as gripping as its predecessor, Hellbound captivates as a relic of a time when special effects artists were rock stars in the pages of Fangoria, and it makes today's mainstream horrors of the Waniverse and Blumhouse stable seem entirely devoid of imagination by comparison. Review

For the most part, Hellraiser is a gritty, kitchen sink thriller with a very British aesthetic. Review

If the dynamic between the two characters never quite works as effectively as the film would like, the blame can't be levelled at Rock or Cowan. Both are excellent in their roles. Review

Any film that revolves around a single character will ultimately succeed or fail on the strength of the performer occupying that role. Sullivan is magnificent as The Interviewer, evolving from cocksure and confident to paranoid, nervous wreck as the mystery overwhelms her and seems intent on wrapping her up in its enigmatic tentacles. Review

But while the writing is rough around the edges (some of this may be down to translation), Tejpal's filmmaking is tense and enthralling. It's not always a smooth blend, but Stolen is a rare movie that combines righteous social rage with exhilarating thrills. Review

Most of us demand such things as story, plot, character, suspense etc from our horror movies. Review

This Halloween howler is definitely more trick than treat. Review

Stahl brilliantly conveys this duality, swapping back and forth between sweaty desperation and professional pride. Review

As Beate, Stangenberg is a terrifying presence, one of the great villains of recent cinema. Review

At close to 3.5 hours, Killers of the Flower Moon never fails to justify its running time. It moves rapidly from one devious scheme to another, all the while propelled by a Ry Cooder-esque score by the late Robbie Robertson that ticks away like a malevolent metronome. Review

Haar is a tender tale of a tough woman. With its protagonist traversing a scenic European city, it has the feel of Linklater's Before Sunrise, but instead of asking the audience if two protagonists might fall in love, it proffers the question of whether one woman might learn to love herself. Review

Of course, if you're a seasoned horror fan you'll have learned to shrug off such inconsistencies and settle in for the thrills, of which there are just about enough here to make It Lives Inside an entertaining teen horror. Review

Christensen puts together some effective sequences and for two thirds at least The Puppetman is an involving little chiller. It runs into trouble in its final act when the film struggles to make sense of its own mythology. Review