Movie reviews of Eric Hillis

Driver and Goldblatt have some nice chemistry, and the latter is particularly adept at conveying a lot of emotion without words. Their efforts to polish a turd just leave them covered in shit however, and I suspect both actors will be keen to wash the stench of this production off their respective CVs. Once again Hollywood has done the impossible and made dinosaurs boring. Review

For a first-timer, Mar's work here is remarkable... Review

The killings are a little more sadistic here, but none of them are remotely inventive. Knife go in, knife come out, knife go back in. That's yer lot. Review

Director Sophie Jarvis poses the question of what if Erin Brockovich wasn't smart, sassy and sexy, but rather a socially awkward introvert who struggles to hold a simple conversation with another human, let alone take on a company. The answer is a uniquely rewarding spin on the environmental thriller sub-genre. Review

By that point it's clear that taking down a memorial isn't enough to allow Paris to move on from its recent past, but it's telling that the film closes on an image of romance. Review

The narrative doesn't come together as satisfyingly as you might like, and the time-travel aspect is really just a way to enliven flashbacks, but Mysius and her romantic partner Paul Guilhaume keep us invested with some beautiful visuals that capture the frostiness of the Alpine region. Review

Scrofano can't do much with her broad character, but Gao gives the film's standout performance – I found her an utterly compelling presence, despite frowning at the arc of her character. Review

Hansen-Løve's protagonists are usually glamorous women whose job is to translate some Austrian philosopher's work into French, and they always seem to live in Parisian apartments that should be well out of their pay-grade. But with One Fine Morning she's made a movie on a universal theme. Review

The only positive aspect of Spoonful of Sugar is Saylor's performance. Review

When Sorogoyen takes the narrative into full-on thriller territory, he does so in stunningly effective fashion. Review

Hill dedicates his film to western master Budd Boetticher, which only serves to remind us of how well this sort of thing has been done in the past. Review

Dambrine and De Waele prove themselves remarkable young talents. Review

Pearl owes a debt to a lot of previous movies, and to America's real life history of colourful homicidal maniacs, but its primary coloured presentation and heavy reliance on the offbeat charisma of its young leading lady make it something of a unique experience in the current monotonous landscape of the mainstream American horror movie. Review

There's just enough here to keep fans of this long-running series content for two hours, but it's unlikely to become a disc you pull from the Rocky/Creed boxset too often. Review

Banks may be guilty of a few narrative missteps, but she's delivered on her movie's outrageous promise. She don’t lie, she don’t lie, she don’t lie. Review

Rather than making parents fearful of the generation they're currently raising, it aims to make you remember how dark a time your own teen years might have been. Review

It may end in a thoroughly unsatisfying manner, with a "crime doesn't pay" coda that belongs in a Hays Code-era gangster picture, but for its first two thirds Sharper is a genuinely thrilling thriller, populated by charismatic stars playing people whose livelihood depends on charisma. Review

For a less disingenuous version of this sort of thing, you can check out Xavier Dolan's Mommy or Joachim Trier's Louder Than Bombs, but Jackman and Dern do such good work here that The Son is worth a watch, even if it will leave a sour taste in your mouth. Review

What could have been a Parasite-esque blackly comic thriller that shines a light on the darker side of Korean society is instead a pale imitation of the Japanese films of Kore-eda, who this misstep aside is arguably the greatest filmmaker of his generation. Review

Legge has done a wonderful job with limited means, reinvigorating the played-out found footage genre by looking past The Blair Witch and Paranormal Activity to the films of Watkins, which despite what fans of Cannibal Holocaust would have you believe, mark the real beginnings of the sub-genre. Review

Anyone who attended Catholic school may find enough relatable creepiness in the setting, but for a convent-based horror it's nun too scary... Review

Soderbergh's ability to fashion a fun sequence occasionally enlivens the by-the-numbers drama but with a central romantic plot you'll be hard pressed to care about, Magic Mike's Last Dance has occasional bumps but is mostly a grind. Review

Polley opens her film with a pretentious bit of text that declares her film a work of "female imagination." A flight of fancy might be more apt. Review

Yet while we're kept gripped by the potentially looming apocalypse and the smaller human drama between Eric and Andrew, the film runs out of ideas in its final stretch... Review