Movie reviews of Eric Hillis

By the time Stockholm Bloodbath decides to make some serious and timely points we've lost interest in its parade of cartoonish stereotypes. Review

Arnold's latest is so filled with exuberant adolescent energy that you can't help but get wrapped up in its messy charms, and in Adams we're witnessing a starling hatch from her shell. Review

The movie is almost single-mindedly interested in Canelli, and it's credit to Robinson's immense screen presence that such a nihilistic figure keeps us engaged. Review

Scanlen and O'Brien are both excellent as two young people haunted by loss and driven to obsession. Review

It's remarkable then that it fluffs its lines so badly and fails to exploit the claustrophobic tension of its initial setup. I'd wait for the next one if I were you. Review

Everyone can enjoy seeing a woman scorned standing up for herself, and this embittered housewife serves her revenge piping hot, straight out of the oven. Review

Despite its fantastical elements, some of which might even be dismissed as silly by less forgiving viewers, Meanwhile on Earth always feels grounded thanks to the relatable and recognisable nature of its tragedy. Review

If Kennedy can create so much tension and mine so many awkward laughs in the limited setting of a country pub, I look forward to seeing what he might be capable of creating if a producer puts more than a pound in his pocket. Review

What's most laudable about Woods and Beck's film is how it may lead some viewers to question their own belief systems, regardless of which side of the fence they're on. Review

Eastwood may waste the opportunity to create a modern transcendental classic, but he has fashioned a highly entertaining thriller. Review

There are brief digressions when Time Cut becomes downright melancholy as it wrestles with such weighty ideas, but it's too concerned with neatly wrapping everything up to really dive into any deep philosophical waters. Review

Christmas Eve in Miller's Point is like the best sort of Christmas present, one you didn't know you needed, wrapped with tender care in traditional tones of red and green. Review

By the end of Armand we've been subjected to so many showy distractions that we've lost sight of the central drama, and as the closing credits unspool we're left wondering what the point of it all was beyond providing a showcase for the formidable talents of rising star Reinsve. Review

The conceit is a microcosm of Universal Language, which attempts, and largely succeeds, in its sideways look at human beings and the strange world they interact within. Review

Once the details are spilled, it descends into scene after scene of characters explaining how this all works, and yet it's still never entirely convincing. Review

A film whose laidback rhythm means its ostensibly low key drama hangs in the air for so long that you're taken aback when it eventually hits you in the gut. Review

Don't Move is most effective when it focusses on the body-horror element of its premise, often resembling a thriller reworking of the scene in The Wolf of Wall Street where Dicaprio struggles to crawl to his car while paralysed by quaaludes. Review

The biggest problem with The Front Room is that it doesn't know whether it's a supernatural thriller or a glorified '70s sitcom. Review

Windless may not be a documentary but it is a document of a corner of Eastern Europe so desperate to put its past behind it that it's willing to bulldoze its heritage. Review

The movie is absolutely terrifying. Never have camera movement, framing, lighting and editing been combined in such a chilling manner. Review

Scott's powerhouse performance is so compelling and energised that you won't have time to question what you're watching in the moment. Review

When Woman of the Hour gets away from the bright lights of the Dating Game studio it really comes alive. Review

The Apprentice sometimes struggles with its difficult task of finding the "real" Donald Trump when at this point Trump probably doesn't even know himself, but Stan and Strong keep us compelled by finding the human hearts of these monsters. Review

I even like the fact that The Crime is Mine didn't tickle my particular fancy (which, I think, is what this bubbly number sets out to do), because it proves his idiosyncrasy: great artists should always be divisive. Alas, The Crime is Mine wasn't for me, but maybe it will be for you. Review