Movie reviews of Eric Hillis

What's so canny about Follow Her is how it introduces us to Jess through the lens of her dedicated followers and her own twisted idea of what it means to be a strong, independent woman, only to later force us to question why we're rooting for this pretty awful person. It's a daring move, but a refreshing one amid a rash of movies that patronisingly paint women as strong and independent or as victims. Review

In an era where the workplace romance has become a taboo tantamount to harassment, Chan-Wook taps into the illicit thrill of his film's central courtship with his customary style. It's a forbidden romance, but one even the most uptight of viewers will struggle not to endorse. Review

Inland is something of an enigma. I'm not quite sure I took everything in on this watch, and I suspect it may reveal an extra layer or two with further viewings. Review

While the first two instalments of this trilogy were filled with little details that annoyed fans of the series, this has a premise that's so off the wall it's difficult to even think of it as a Halloween movie, and as a result it doesn't rankle so much. Review

The two timelines collide in a climax that's a little too far-fetched, but one which certainly underlines the film's message of the manipulation of young men by their power-hungry elders. Review

This is a road trip where nobody takes the time to look out the window and appreciate the world they're passing by. As it chugs to its final destination, you may find yourself asking "Are we there yet?"... Review

What's most surprising about Dark Glasses is that the most successful aspect of the film is its central character dynamic, which despite some dodgy acting by Pastorelli and Zhang, is quite engaging if hard to swallow. Review

In her feature debut, McInerny is quite the find, thoroughly convincing as a naïve 17-year-old despite being 22 at the time of filming. Review

There's nothing romantic about McDonagh's film, but unlike those of his brother, it's never cruel or cynical, simply an honest, observant take on how messed up we all are, whether Irish or not. Review

Like The Untamed, Piaffe is a celebration of sexual pleasure, regardless of what form it may take, but where Amat Escalante's idea was wrapped in a compelling narrative, Oren's film lapses into something closer to pornography in a final act that may test the patience of some viewers. Review

At times Novak's lack of directorial experience is telling, with some bits of info communicated in a sloppy manner and editing that suggests a lack of foresight, though as the film was shot under COVID conditions this may be unfair to Novak. Review

It all comes off as a cringey piece of Hollywood sermonising, but it ironically comes in a movie that constantly uses a character's disability as a punchline, and one which doesn't have the balls to embrace the inter-racial relationship at its centre. Review

It's a shame that The Lost King is dogged by so many issues, as its early scenes hint at the potential for what could have been a highly engaging detective story. Review

Gina Prince-Bythewood does a far better job with The Woman King's action scenes than those in her previous effort, The Old Guard, constructing them in a manner that leaves us in no doubt that these women could take down much bigger men with their physical prowess. Review

Jaded horror fans who have seen it all will likely be left dissatisfied by My Best Friend's Exorcism, but it may prove a successful sleepover watch for younger teenage girls discovering the delights of the genre. Review

By portraying Monroe solely as a victim, the film removes her agency. The actress is always held up as a counterpoint to the dumb blonde stereotype, given how well read and seemingly intelligent she was, but the movie never conveys this side of the star. Review

After almost two hours of effective broodiness, Finn leaves us looking at something that frankly, looks ridiculous, though he does make up for this by sending us out on a downer with a final shot more reflective of the film's unrelenting grimness. Review

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