Movie reviews of Eric Hillis

Mouaness has achieved something of a marvel with his remarkably accomplished debut. He's crafted a story set in a part of the world synonymous with hardship, but from the first frame it's clear he's not interested in our pity. Review

Falling somewhere between the sombre, epic tone of Coppola's films and the manic action of the Italian Poliziotteschi movies of the era, Fleischer's film is an unfairly forgotten thriller that offers a chance to see some of the best actors of the fringes of New American Cinema step into the headlights, guns blazing. Review

Much of it is silly, with gags rehashed from the likes of The Naked Gun, while at times it's sublimely moving... Review

After successfully sustaining the cat and mouse tension so well, Hunted collapses in its final act... Review

On the whole though, this is an impressive debut that suggests Kushida may well be the next Japanese auteur of note. Review

On a technical level, Nina of the Woods is one of the more impressive low budget American indies of recent years, and I have to applaud Griak's aspiration. But while it's a cut above the slew of "let's go the woods with a camera and hope for the best" indie horrors, it fails to come anywhere near the sort of metaphysical genre films (Stalker; Solaris; Picnic at Hanging Rock) it hopes to echo. Review

I'm certainly curious to see what he might achieve if he's given a fully developed script to work with. Review

The Columnist is a provocative satire that doesn't offer any answers but raises plenty of questions regarding free speech. Review

A combination of sloppy, unfoccussed camerawork and an irritating soundtrack of loud guitar dirges makes Night of the Rumpus something of a sensory endurance test. Review

While his film is more concerned with mood, surreal atmosphere and vignettes... Review

Taken out of context, the first half of Shadow in the Cloud resembles a fun instalment of an Amazing Stories type anthology series. There's a rip-roaring 40-minute yarn here, but unfortunately Shadow in the Cloud follows it up with another 43 minutes of eye-rolling nonsense. Review

The Woman Who Ran is a film where very little happens during its running time, but its characters seem to continue existing beyond the closing credits. Review

Even if you can get on board with such insensitive victim-blaming, there's little here to satisfy fans of either the horror or western genres. Review

The three central performances are quietly heart-rending. Review

That bit of subversion aside, WW84 is as generic as any other superhero movie. Review

It's testament to Walsh's directorial skills and particularly the taciturn charisma of Belgian actor Talpe, that we remain invested in Dom's story. Review

Any potential for nerve-jangling suspense is squandered and in its place we get brief shocks, as villains appear out of nowhere. As Hitchcock was oft to say, a bomb suddenly exploding is nowhere near as effective as one ticking under a table. Review

Perhaps in a decade or so, Songbird will have some value as a shoddy document of what we all went through in 2020, something for teens who are currently too young to fully grasp what's occurring can look at and appreciate why Mommy and Daddy were so stressed out back then. Review

Up in space, the drama is just as inert. Sully and her crew, including her child's father, scientist Tom, are a poorly sketched lot. Review

Let Him Go is a gripping modern western anchored by one of the most textured screen couplings of recent mainstream cinema. Review

In place of muscular action, Knuckledust features a bloated ensemble of characters all suffering from verbal diarrhea. Review

Amid the cliches, it's the performances that make Falling worth sticking by. Review

Unfortunately this flatness is carried over to the film's scare scenes, and while Anything for Jackson is innovative in its premise, in its execution it's anything but. Review

But like the barely furnished, modernist home it plays out in, The Bloodhound is a film that could use an injection of warmth and life. Review