Movie reviews of Eric Hillis

Her character's immature potty mouth makes her intensely unlikable, but the film itself also trades in gutter humour. Review

The visual effects are very impressive, but all this hard work is wasted, as it never plays into creating any suspense or tension. Review

Like 2011's Limitless, Lucy is based on the ludicrous notion that humans only use 10% of our brain power. After watching the movie, I felt like I had lost 90% of my brain cells. Review

Deliver Us From Evil purports to be inspired by a real-life cop/priest duo in the NYPD. That sounds like the basis for a very interesting movie, but this isn't it. Review

Like the best parties, you won't remember a thing about The Expendables 3 the following morning, but you'll be glad you were there. Review

Relying on the charm of its cast rather than pulling you into anything approaching a story, What If feels like a pilot for a TV comedy series. It promises much but delivers little, yet you're left wanting more from its infectious characters. Review

Take away its instagram indie veneer and WGGOOTP is the sort of C-grade thriller that would have gone straight to video shelves back in the 90s. Review

Whatever you might think of his contentious off-screen persona, on-screen Depardieu is a big ball of charisma, and it's easy to see Deveraux as a seductive charmer, exuding a little boy lost vulnerability despite the protection of his wealth and status. Review

For a movie about fine cuisine, The Hundred Foot Journey is as bland as a service station panini; it'll fill a hole for a couple of hours, but you won't be thinking about it for too long afterwards. Review

This is a very worthwhile entry in the thriller genre, and it's the type of adult oriented genre offering we no longer get from mainstream Hollywood. Review

At an economical 81 minutes, Carbone makes every shot count, each cut snapping into place like an essential jigsaw puzzle piece. At a time when so many films favour bladder testing run times, Carbone reminds us that the secret of cinema lies in moments, not minutes. Review

The Grand Seduction ultimately comes up lacking in the originality department, but it has a breezy charm that makes it hard to dislike, and Gleeson is outstanding as a man who, in his words, “just wants to go to bed tired again.”... Review

God's Pocket is a film packed with ludicrous moments... Review

GOTG aims for the tone of late 80s action movies like Roadhouse, Tango & Cash and Big Trouble in Little China, but it replaces innocent naivete with knowing smugness, and the result comes off as a particularly expensive piece of Firefly fan fiction. Review

It's not a complete failure, and the much maligned Ratner handles the action sufficiently well, but ultimately Johnson's unique charm is wasted, and the best efforts of British hams McShane and Hurt fail to elevate it above direct to video level. Review

Before his film turns into another bland revenge story, Green shows what a great documentarian of character he can be. Review

Rise... hinted at the beginning of a great new sci-fi series. While Dawn doesn't fully deliver on that promise, it's a must see for ape devotees, and in the current climate of superheroes and giant robots, it's admirable that Hollywood is willing to give us a sci-fi movie with both heart and brains. Review

Three of French cinema's finest contemporary stars, Rahim, Ménochet and Seydoux are quietly on fire here... Review

It's certainly a departure from Pattinson's star-making pasty faced pretty boy vampire turn in the Twilight series, but it's a highly mannered piece of acting that comes off like an impersonation of Billy Bob Thornton's turn in Slingblade. Pearce, on the other hand, delivers a wholly naturalistic, subtle performance, confirming his status as one the most under-rated actors of his generation. Review

There are so many idiotic editing, camera movement and framing choices in T:AOE that the film will likely be adopted by film professors as a means of teaching students how not to construct a film. Review

Herngren certainly puts every last Krona on the screen, but he seems more interested in putting together a "come and get me Hollywood" showreel than telling an involving story. Review

While it's intriguing to watch the time-lapse physical development of Coltrane, like thumbing through a photo album in a stranger's dusty attic, there's little else to keep us hooked. Review

Mickle films in an economical style, never wasting a cut, shot, or camera move; always advancing the story. Review

The young cast is impressive, world weary yet wondersome, like the title characters of William Wellman's Wild Boys of the Road, and the language barrier created by the introduction of Chauk means much of the film plays in silence. Review