Movie reviews of Eric Hillis

This is a filmmaker having fun – and nobody is having more fun than Hudson with her Jennifer Lopez impersonation – yet ironically it feels like Amirpour's most mature offering. Review

Whether you favour suspense or surprises, you'll be kept engaged by the film's two central performances from Jeong-eun and Ryeo-wun, and if this were a pilot for a TV series, the former certainly does enough good work to impress the most demanding of network execs. Review

Overlook these details and fans of gothic horror should be largely satisfied by one of the more committed takes on this form of dark storytelling. Review

Kogonada's latest film is as tender as a tear-stained tissue, a mood exemplified by Farrell's magnificently understated performance. Review

What makes Sang-soo one of the finest writers of human speech in modern cinema is how he understands that conversations aren't always dialogues. Review

We're very much dealing with a case of style over substance here. But what style! Athena is one of the most visually dazzling movies of recent years. Review

When it comes to Don’t Worry Darling, the biggest question is why does Wilde think none of us have seen The Prisoner, The Truman Show, The Matrix, The Village, and most of all, the 'USS Callister' episode of Black Mirror? Review

It all adds up to a visual and aural nightmare that sadly, many viewers will know all too well. Review

A character actor who is the very definition of "oh, it's that guy," Maher gets a rare meaty part and delivers one of the year's most thrilling performances, his Wallace as scary as he is hilarious. Review

Tafdrup has constructed a ticking bomb scenario par excellence here, but when he detonates his metaphorical bomb, his film's verisimilitude is caught in the explosion. Review

As you would expect from an Antonioni movie, Identification of a Woman takes itself very seriously. It's not so easy for the viewer to take it so seriously, as it boasts the sort of premise that was fuelling Gene Wilder and Dudley Moore comedies during this period. Review

You don't need to be a fan of classic British murder mysteries to enjoy See How They Run, but if you are you'll have an extra level of fun spotting its many send-ups and references to real life figures from the British film and theatre world of its era. Review

With committed performances across the board and effectively atmospheric use of a largely deserted nocturnal Athens, the film immerses us in what feels like a very well thought out near future society. Review

Herbulot certainly displays talent as a director, keeping things moving at whip-crack pace without ever resorting to the sort of incomprehensible rapid fire editing favoured by so many western action filmmakers. Team Herbulot up with a writer who can better communicate his themes and ideas and we might see something very special from this filmmaker. Review

Unlike the blade that sets the mystery in motion, that satire just isn't sharp enough. Throwing in a few token references to "gaslighting," "triggering" and the like isn't enough to make for a cutting takedown of Gen-Z... Review

Equally as backwards as the film's visual aesthetic are its regressive attitudes towards women and the Eastern world. Review

Things are left open for a possible sequel, and I for one will be there on opening day. Blackbird should serve as inspiration for all budding filmmakers to chase their dreams. If multi-millionaire global superstar Michael Flatley can do it, why can't you? Review

Who Invited Them is just about engaging enough thanks to the central performances, but horror fans may find its reluctance to fully embrace the genre somewhat frustrating. Review

Hannam's film often devolves into road movie and queer cinema tropes that we've seen all too often, but the unique setting and exploration of dual identities adds an element of freshness. Review

Thankfully, Skelton and Brennan possess enough talent to convincingly inhabit their roles and add an extra dimension to the functional script. Skelton is particularly skilful in conveying her character's gradual personality transformation. Stalker may be lacking in innovation behind the camera but the two faces before it have come away with an impressive acting showreel. Review

Even in some passages where it feels Dupieux is struggling to stretch out his story, the performances of his central quartet keep us involved with their commitment to his unique vision. Review

If you can brush aside its various inconsistencies and leaps of logic, there is a minor bit of fun to be had with I Came By. It's mostly courtesy of Bonneville, who is genuinely creepy as the terrifying toff. Review

Imagine a relatively straight albeit sleazy comedy with a 2001: A Space Odyssey light show tacked onto the end and you'll have some idea of what you're in for. Review

Orchestrator of Storms is a loving tribute but a melancholy one. In the end we're left thinking of Rollin's body of work as another vampire that continues to live on, bringing eternal beauty to the landscape of French cinema from beyond the grave. Review