Movie reviews of Eric Hillis

At 140 minutes, The Lost City of Z justifies its running time. It's a banquet of a movie, a visual feast that also provides plenty of food for thought. If Gray's reach has exceeded his grasp here, it's a compliment to both his ambition and his talent. Review

There's nothing magical or romantic about this oppressive reboot. Whatever its motivation, it plays like little more than a lazy, uninspired cash-in on a recognisable property. In Hollywood, that's a tale as old as time. Review

The Secret Scripture plays a lot like some old Hollywood melodrama that might turn up on TV on a Sunday afternoon, but those movies were immaculately crafted with taut storytelling, something Sheridan's movie can't claim. Review

If the trappings of the western genre are enough to keep you happy, In a Valley of Violence does just enough to entertain. But displaying an understanding of the genre's tropes should be the starting point for a filmmaker, not the be all and end all, as is the case here. Review

Oh and Heche are two actresses we don't see enough of, and both are exceptional here, as is Silverstone, whose Lisa gives us an idea of how Clueless's Cher might have ended up had she continued on her narcissistic path. Review

Kong: Skull Island certainly has its moments, and if you see this on a big enough screen you'll get your share of spectacle, though seeing Kong in action on his home turf is nowhere near as visually interesting as witnessing him destroy New York. Ultimately, despite its scale, it's an often underwhelming and largely soulless experience, a movie so obsessed with delivering its giant special effect it neglects to add a human heart... Review

Marmoud does just enough behind the camera to suggest he's capable of giving us a compelling Chabrol-lite thriller, but more time spent mining the skills of his leading ladies and a narrower focus from the script may have gone a long way to making Moka a more involving drama than the lifeless thriller that ultimately made it to the screen. Review

Sometimes we build filmmakers up and create monsters, giving them free reign to indulge themselves in the worst possible way. Perhaps that's the case with Mungiu. Like no other movie of recent times, Graduation is clearly the work of a great talent, but one who's simply not making an effort this time. Review

Ultimately however there simply isn't enough new material here to make Hounds of Love a fully engaging experience, yet practically everyone involved, on both sides of the camera, is someone to watch out for in the future. Review

Taken at face value, Personal Shopper is frankly ridiculous, but Assayas commits to its nonsense in a manner that makes it impossible not to get on board. Review

Whether you empathise with the loneliness and vulnerability of Fuller, Albert or Jamie, or the guilt of Laura, Gina or Beth, you'll likely find something here that strikes a chord, if perhaps an unwanted or unacknowledged one. Review

Berlin Syndrome may boast a pair of top-notch performances from its leads, along with some polished cinematography, but otherwise it's the sort of mediocre thriller that clogs up the Netflix catalogue. Review

This rapid escalation is jarring, yet Blair seems more comfortable with the revenge thriller aspect of his film than the comedy, which is weakly written and staged. Review

Berg's never been better than he is here, constructing visceral set-pieces that immerse us in the tense drama. Review

If you've ever wondered what a deadpan Nordic version of Fawlty Towers might look like, look no further. Review

It's part horror movie, with a creepy discordant score accompanying many scenes, part high school comedy, part coming of age musical, with Holmer displaying a Minnelli-like understanding of how to shoot dance sequences that's far less showy but just as effective as La La Land. Review

Visually, Nails is a cut above most UK and Irish horror, with cinematographer James Mather making nice use of light and shadow, and director Bartok shows promise in the film's key moments, but this badly needed rescuing in the script department to sell its intriguing premise in convincing fashion. Review

It's a bloody film, but there's no blood without a heart, and Logan has one pumping beneath its tough exterior. It's a story of family, but it never feels trite and forced in its message; there simply isn't time for sentimentality in its lightning paced narrative. Review

Like Crazy lacks the sort of memorable sequences required for a road movie, and the characters Beatrice and Donatello run into along the way are instantly forgettable. It's only the movie's genuinely touching climax that hints at the tender and thoughtful drama Virzi's film might have been. Review

It's a uniquely singular vision (as well as writing and directing, Biller produced, scored, edited, and designed the sets, costume and general production of her film), one that leaves you in no doubt that its creator loves cinema, and is determined to leave her own mark on its history. Review

Perez's film lacks the energy and narrative thrust of Clark's Turk 182 however, and crucially it's missing protagonists we can fully throw our support behind. Review

It's Only the End of the World may be his biggest misfire to date, but it's far from a disaster; the performances from a mouth-watering cast alone are enough to keep fans of French language cinema engaged. Review

Despite such a lack of orginality, Verbinski's love of this genre is infectious, and it's undeniably fun to watch him tick off its tropes. In terms of pacing, the movie could easily shed 30 minutes, yet at the same time its oppressive length almost becomes immersive, causing us to share Lockhart's frustration at his inability to escape the facility. Review

While the bulk of Trespass Against Us is a conventional slice of British social realism, it occasionally enters genre territory, with a couple of adrenalin pumping car chases assembled with a level of skill that suggests Smith may be more comfortable in the world of action cinema than character study. Review