Movie reviews of Eric Hillis

Stahl brilliantly conveys this duality, swapping back and forth between sweaty desperation and professional pride. Review

As Beate, Stangenberg is a terrifying presence, one of the great villains of recent cinema. Review

At close to 3.5 hours, Killers of the Flower Moon never fails to justify its running time. It moves rapidly from one devious scheme to another, all the while propelled by a Ry Cooder-esque score by the late Robbie Robertson that ticks away like a malevolent metronome. Review

Haar is a tender tale of a tough woman. With its protagonist traversing a scenic European city, it has the feel of Linklater's Before Sunrise, but instead of asking the audience if two protagonists might fall in love, it proffers the question of whether one woman might learn to love herself. Review

Of course, if you're a seasoned horror fan you'll have learned to shrug off such inconsistencies and settle in for the thrills, of which there are just about enough here to make It Lives Inside an entertaining teen horror. Review

Christensen puts together some effective sequences and for two thirds at least The Puppetman is an involving little chiller. It runs into trouble in its final act when the film struggles to make sense of its own mythology. Review

With its cold corporate sheen, Fair Play might be mistaken for a product of the late '80 or early '90s, a time when an adult oriented water cooler movie like this would have been released in cinemas rather than buried on Netflix. Review

In that respect Totally Killer is a poor cousin of Landon's similar films, but as a comedy it's a winner thanks largely to the talents of a young cast, all of whom are too young to remember the '80s yet nail the vibe regardless. Review

Bloodlines pales in comparison to the sort of films it's attemping to evoke, and never manages to generate the sort of ticking clock tension such films thrive on. Review

Such details take us out of the film at key points, which is a shame as Unmoored is an otherwise tense and paranoid thriller with a protagonist we can sympathise with if not entirely condone. Review

In its home stretch, The Exorcist: Believer comes up against the problem of trying to present an exorcism in a novel fashion. At this point it's like trying to make a shark movie. Review

Like the worst superhero movies, much of When Evil Lurks seems more interested in laying down a path for possible further instalments than in keeping focus on telling its own story. That said, now that the rules have been established, perhaps a sequel could be better able to focus on the sort of outlandishly violent thrills that make up the highlights of Rugna's frustrating film. Review

While two of the segments are unremarkable, none of them could be considered duds and two are among the series' best offerings. Review

The Creator looks impressive but has a cavity in its chest where a human heart should be beating. Review

If you're already onboard with the unique delights of Italian genre cinema of this era you'll embrace the madness on display here. Review

It all leads to a rather convenient and clichéd climax, and by that point you'll have had to suspend a lot of disbelief to stay onboard with Saturn Bowling's frustrating narrative. Review

Ultimately it's the lack of scares that prevent Nightmare from living up to its name. There's too much exposition, too much time spent explaining backstories and not enough spent on constructing tense set-pieces. Review

For a movie about stocks and shares, Dumb Money is more thrilling than it has any right to be. Review

Duffield makes great use of editing, camera movement, blocking and framing to pull off some nerve-wracking set-pieces. Review

Plenty of filmmakers have managed to pull off the trick of combining arthouse with grindhouse, including Cassavettes' own parents, but perhaps the trick is to have an equal appreciation for both forms. Review

Despite its title, The Angry Black Girl and Her Monster perhaps isn't angry enough, but it provides enough jolts to spark new life into a classic tale. Review

For the most part, Hellraiser is a gritty, kitchen sink thriller with a very British aesthetic. Review

The Wicker Man is a movie that benefitted greatly from both chance and improvisation. Review

El Conde is the first misstep in Larraín's prolific career, but a movie made by a filmmaker of his talent is always going to have at least one redeeming feature. Here it's the gorgeous vespertine cinematography of Edward Lachman, who utilises the same lenses employed by Gregg Toland in his collaborations with Orson Welles. Review