Movie reviews of Eric Hillis

The Origin of Evil never quite elevates itself to the level of a classic Claude Chabrol thriller however, as Marnier fails to to structure his film in a way that generates the necessary tension and suspense. Review

With its focus on words and grounded storytelling over powerful images and supernatural subplots, Immaculate is a decidedly Protestant take on Catholic horror. Review

The Sweet East comes loaded with American indie cinema cred. Review

Imogen Poots is fantastic in the role of Rose. Equally excellent is Dermot Crowley as Donal... Review

Unlike Swayze and Kelly Lynch, who smouldered on screen together, there's a notable absence of chemistry between Gyllenhaal and Melchior, as though the actors are all too aware of the inevitable online age gap discourse. Review

It's Campbell's performance that keeps things grounded even when the surreal shit begins to hit the absurdist fan. The British actress has quickly established herself as a reliable staple of genre cinema and possesses the sort of convincing vulnerability that makes her the ideal horror heroine. Review

Harden and Chichikova make for an endearing odd couple, and the improvisational nature of the film allows for some great natural comedy as they mutually react to encountering cultural differences in real time. Review

The trouble with Malta is that its storytelling is as meandering and unfocussed as its protagonist, so it's easy to drift out of its narrative and forget what exactly it is we're supposed to be invested in. Review

The closing minutes have a genuine emotional heft, but it's scant reward for the rambling inanity we've had to endure to get to that point. Review

Late Night with the Devil pulls you into its meticulously recreated world from the off and keeps you gripped up to a point. Review

While their characters are paper-thin, Qualley and Viswanathan do make for a charming screen couple, which only makes it all the more frustrating that they're lumbered with such shoddy material. Review

Blanc's debut may trip over itself in its desperation to make a depressing but not entirely untruthful point, but it's largely a gripping affair. Review

It doesn't work as a children's fantasy, and Imaginary is no more successful as a horror movie. Review

Mom struggles to offer anything new to the horror genre. It's too reliant on clichés borrowed from the sort of Asian horror movies that were popular at the turn of the century. Review

I'm willing to believe anything for the running time of a movie if the filmmaker can make it convincing - but Thornton's theatrics never penetrated my layer of skepticism. Review

While its sounds and images may be distinctly Argentinian, The Delinquents' guidance is universal – enjoy yourself, it's earlier than you think. Review

A punk rock movie with a prog rock running time, Jude's film is simultaneously an exhilarating and exhausting experience. Review

I'm not entirely convinced that The Burning Season would lose anything in storytelling terms if it played its drama in chronological order, but it would likely be far less interesting to observe the performances of two actors doing a fine job of peeling away the layers of their characters. Review

Close Your Eyes isn't simply about the power of cinema to hold memories, but of art in general. Review

With the current vogue among young people for '80s and '90s fashion and music, Lisa Frankenstein's superficial nostalgia will likely play well with a sleepover audience. Review

What we get in between are a few months in the company of a man at his lowest ebb, embracing his worst self to keep him warm in a cold winter. It's not always easy to watch, but you dare not look away. Review

Yu wisely keeps the truth ambiguous, and even as the credits roll viewers will be debating what exactly they just witnessed. Sleep can either be interpreted as a straightforward supernatural thriller or an examination of how desperate people can be radicalised by religion when they can't find solutions elsewhere. Review

Plante's film is a cautionary tale about the potential for evil that exists in the ones and zeroes of the internet, but it never plays like a piece of luddite fear-mongering. Review

It's a charming portrayal of childhood innocence but also of the cruelty passed down by the adult world, and the two central performances are remarkably affecting. Review