Movie reviews of Eric Hillis

There's an intriguing movie to be mined from this subject, but I can't help but suspect this is territory that might be more astutely explored by a filmmaker closer to its subject, i.e. a middle-aged woman who knows what it's like to hit a certain age if you don't have the luxury of resembling Juliette Binoche. Review

The movie is ironically at its best when it keeps away from its young would-be jihadists and instead focusses on Muriel, with Deneuve delivering a quietly devastating performance as a woman whose heart is being shattered by the growing idea that she can't save her grandson. Review

Seydoux and particularly Forestier are excellent as the suspects in a seemingly meaningless and motiveless murder, and Zem is genuinely intimidating as their interrogator. But it all feels like something we could watch any weeknight on TV, just a little more polished. Review

It looks more professionally made and boasts a cast of talented actors (how is Olivia Colman in this?), but a polemic is a polemic, regardless of which side of the debate it represents. Review

Along with the likes of Haneke, Von Trier, Seidl and Noé, we're now seeing the formation of a new wave of women shock merchants, with Borleteau taking her place alongside Eklöf, Ducournau and Fargeat. Lullaby is a welcome addition to their growing canon. Review

Yet for all its provocations and the work of its talented cast, Luce ultimately falls short because, like the awful "why can't we all just get along?" polemic Crash, it's a movie arguing against stereotypes that is itself filled with stereotypes, and most of its characters just don't come off as believable. Review

By making an informationally dense but emotionally shallow film, Burns has missed the message of his own movie. Review

As nonsensical as The Good Liar is, it's undeniably a lot of fun watching McKellen and Mirren lend some class to the proceedings. Review

For much of its narrative you could be watching a thriller as straightforward as Bad Influence. Yet Mortimer and DeLeeuw leave you in no doubt that this is an allegory for mental illness, with Daniel a representation of a voice in Luke's head, compelling him to strike out against a world he feels cheated by. Review

On the surface, The Wretched has a lot going for it - charismatic young leads, a great creature design and a chilling central concept - but it never quite digs beneath that surface to explore just how interesting its ideas could be if fleshed out by more nuanced filmmakers. Review

Bullets of Justice is a mix of tedium, immaturity, laugh out loud intentional comedy, laugh out loud unintentional comedy, and the odd moment of visual inventiveness. In other words, it's more satisfying than most Hollywood blockbusters, and a lot more original. Review

Despite combining over the top bloodshed with unrelenting misanthropy and a decidedly politically incorrect brand of humour, Why Don't You Just Die! never feels nasty and attention seeking in the manner of something like the Kingsman movies. While... Review

This is as generic a story as you'll find any Saturday night on cable TV, but like the auteurs who discovered that the simplicity of the western allowed for examinations of the male psyche, McKee understands that this well-trodden thriller premise gives him the chance to focus on his characters, and the plot becomes secondary to the relationship of the three women at its centre - think Mermaids, if Winona Ryder's character was p... Review

You may have to dig deep to find this one, but if you appreciate a knockout plot twist, you'll be telling your colleagues at the water cooler about I See You's narrative thrills. Review

What it lacks in budget and polish, She Never Died attempts to make up for with some affable performances. Review

Onscreen for almost every frame of the movie, it's ultimately Bloom's performance, which keeps us guessing as to just how brainwashed she's become, that makes this lodging worth a rent. Review

It's all a bit like visiting that ghost train you rode as a kid, only to find it's now decrepit and run down. The magic you once revelled in is long gone. If you're a fan of The Shining, you might want to Overlook this one. Review

It makes up for the boredom of the preceding film to a small degree, but we're ultimately left feeling Alive would have worked better as a short episode of an anthology. Review

While The Black String comes off its hinges in a final act that runs out of ideas and descends into horror clichés, it's Muniz's performance that keeps us hooked, a manic cry for help that falls on deaf ears. Review

As with so many indie horror movies, Bliss lives or dies on the strength of its female lead, and I hope Begos gave Madison a very nice bottle of champagne at the end of his shoot as it's her performance that ultimately keeps you engaged. Review

But no amount of storytelling gimmickry would likely cover up the fact that this is a sequel that exists solely because its predecessor made so much money that it simply had to be made. Review

As Godard said, all you need to make a movie is a girl and a gun. When the gun is being wielded by a killer cyborg from the future, surely it shouldn't be as dull as Terminator: Dark Fate? Review

Brooklyn is the sort of movie you don't see much anymore. In a past era it might have been labelled a "woman's picture", and the stars would have been a lot more glamorous, but in essence you could picture a young Bette Davis portraying a character like Eilis. Review

The only thing that saves Little Monsters from taking a hard right turn to Turkeyville is the presence of Nyong'o and England, who share a genuinely palpable chemistry, elevating their poorly written characters with some undeniably infectious charm. Review