Movie reviews of Eric Hillis

If at times the dialogue is a little creaky, Strates' arresting performance goes a long way to giving it life. Like Jeremiasz, we're held in her thrall as we try to figure out just what role she really plays in his life. Review

The Amusement Park is as angry and upsetting as any of the American horror movies of the Vietnam/Watergate era. Review

With its knockout twist, Safe Inside probably sounded like a winner in a pitch meeting, but the resulting feature film fails to capitalise on its potential, and like its young protagonists, you'll probably want to leave its environs early. Review

Holler may not fully satisfy in terms of offering an original story but it offers a cast of characters with refreshingly calloused hands, led by a performance from Barden that suggests that much like the young lady she plays here, she has a bright future. Review

Crawford's performance keeps you glued as David wrestles his demons, an affable Jekyll trying to keep his Hyde under control. Review

I'm all for filmmakers using their work as a form of personal therapy, but it needs to connect with the audience in a way Flashback never quite manages. Review

A Quiet Place: Part II is the very definition of an unnecessary but obligatory sequel, and by the time we get to its climax it begins to feel like Krasinski has scraped every last bit of honey from this particular jar. But what thrills he does manage to mine from this premise justifies a second go around with the Abbotts. Review

If you're willing to have four hours of your life upended by the enigmatic Ukiyo, it's a largely satisfying examination of the necessary toll romance can take on our lives. Review

Devoid of jump scares, loud bangs or an overbearing score, this is horror at its most effective, scaled down, pared back and tight as a possessed toy bunny's snare drum. Review

The money is certainly on the screen, most of it likely spent on music rights and costume materials, but wouldn't it be nice if a Hollywood studio gave a filmmaker such resources to make their own movies instead of constantly trying to fit their artistic square pegs into capitalism's round holes? Review

Whishaw is almost unrecognisable in arguably a career best performance. With little in the way of dialogue, it's a physical part that's as much dance as acting... Review

On a purely visual level, Skull: The Mask has a pretty great villain. Sadly nothing much is done with this potential new horror icon. Review

Army of the Dead simply doesn't function as a horror movie, and as an action movie it lacks sufficient creativity and craziness. Review

Not the most visually oriented of directors, Ritt's film is overly reliant on dialogue to detail its twists and turns. Luckily for Ritt his Welsh leading man possesses one of the most iconic voices ever recorded. Review

Too much of Frankie consists of characters telling us their backstories, and every time someone new enters the screen they begin to tell the nearest character of their troubles. None of it feels remotely natural... Review

I suspect some viewers may miss the point here and find Dinner in America as abrasive as its male protagonist, but anyone willing to embrace its skanky charms is in for a treat. Review

Visually, Rare Beasts is exactly the sort of movie you might expect from a first time director, all quick cuts and indulgent fantasy sequences. Review

Psycho Goreman never quite fully exploits its premise, but it resolutely refuses to take itself seriously and avoids getting unnecessarily bogged down in its plot. Review

On the surface it's little more than a slick erotic thriller, but look under the bed and you'll find Verhoeven wielding a sharp weapon of his own. Review

The only bright spark here is Adams, who, God love her, really does her best to add some depth to the proceedings. Review

It's certainly cold, with Ostrochovsky's camera viewing events with a dispassionate distance, but it's never quite as chilling as this story of paranoia and fear of authoritarianism should be. Review

Complimenting the directorial skills of Charbonier and Powell is the young Dewey, whose silent performance is immensely impressive. Review

For a movie that tackles such a hot button issue, And Tomorrow the Entire World is surprisingly lacking in political depth. Review

Kruger certainly has a distinctive in-your-face style, which may win him some fans of an edgelord nature, but if you're looking for originality in narrative terms, well, forget about it. Kruger's film is probably best enjoyed if your brain is as fried as its protagonist. Review