Movie reviews of Eric Hillis

Feedback's claustrophobic set-pieces are efficiently helmed, and along with cinematographer Ángel Iguácel, Alonso manages to keep a movie that is largely dialogue based visually interesting. Feedback boasts an intriguing premise, but its succession of head-scratching "why aren't the police kicking the doors in?" moments makes it impossible to invest in its defiantly daft narrative. Review

Despite spending so much time in their presence, and in spite of competent performances all around, none of the three leads ever really come off as anything more than archetypes. Review

Characters like these deserve to be both mocked and feared, but Extracurricular struggles to maintain such a fine balance. Review

Tension and suspense are largely absent, replaced by an incessant low bass rumble that seems intent on telling us we should find the movie a lot more ominous and brooding than it really is. Review

For a movie that keeps you gripped for so long, it's a shame that it will likely end with you glancing impatiently at your watch. Review

Angel Has Fallen is a lot more palatable, and a lot less mean-spirited and xenophobic than its predecessors, but as an action movie it's still pants. Review

Øvredal's set-pieces are diverting enough, and will no doubt please budding young fright fans, but you have to sit through an awful lot of dull exposition while you wait for the next creature to appear. Review

After hooking us in with its poisonous father-son dynamic, Come to Daddy opts for a level of zaniness that descends into mere silliness. Review

Now this is what summer movies should be all about! Give me a straightforward but well executed man/woman vs nature thriller and bring it in under 90 minutes and I'll emerge into the August sun a satisfied cinemagoer. Review

It's a film that transcends its misguided identity politics with electric performances and compelling if undeniably manipulative storytelling. Review

Despite such issues, I was never less than invested in Georg's story and the Kafkaesque machinations of Petzold's plot. Review

It's a pretty generic espionage thriller, but in De Palma's hands it's a triumph of storytelling over story. Review

Hollywood might have all the technology in the world, but when it comes to its conveyor belt blockbusters, the heart flatlined long ago. Review

Once Upon a Time in Hollywood might be set in filmmaking ground zero, but unlike most of Tarantino's work, it's about something other than simply movies. Review

Photograph may be sentimental and saccharine at times, but it doesn't sugar-coat the practical role class plays in dating. Review

Remove the marquee value of Quaid and The Intruder is practically indistinguishable from the sort of generic thrillers that evolved from clogging up video store shelves in the '90s to now padding out the schedule of the likes of the Lifetime Network. Review

Perhaps a filmmaker from a cultural background closer to the milieu represented here might have delivered an exploration of the dynamic between South Asians and their British diaspora, but Winterbottom seems interested in this aspect merely as set dressing. Review

Gwen's brooding journey makes up for its underwhelming destination, and in Worthington-Cox we might just be witnessing the emergence of Britain's newest young star. Review

Along with the comedy, which rarely lands here, the musical sequences jar with the rest of the movie. This Lion King is a tonal car crash. Review

Ultimately, the lesson of Blinded by the Light is that culture is a conversation, not a monologue. If that isn't a message for 2019, I don't know what is. Review

Though implementing Reygadas' ongoing obsession with the natural and material world his characters' inhabit, it's essentially a straightforward relationship drama, though nothing about its particular relationship is remotely straightforward. As its relatively petty human drama unfolds against the backdrop of a cattle ranch, it often resembles an episode of Dallas directed by Terrence Malick. Review

At two hours and 20 minutes, and with its generic narrative beats, Midsommar isn't so much elevated horror as elongated horror. Review

It's also a rare teen horror that boasts likeable characters, which goes a long way to making us care about whether the assembled kids actually make it through the night. Review

At over three hours its rambling nature will at times test your patience, and the small screen may have proved a better fit for this story, but despite Schilling's limited take on his character, it's just about a rewarding experience in the end. Review