Movie reviews of Eric Hillis

But such details are moot, as we don't really care about whether Noah and Megan get away with their plan. They're not particularly interesting to begin with and the more time we spend in their sociopathic company the more unlikeable they become. Review

Valley of the Shadow of Death is a heart-breaking and often suffocating exploration of forgiveness and the clash between religion and human anger. Review

Frankenstein is simultaneously classy and tacky, like a European country estate that has been purchased by a classless American tech baron. Review

Badlands is far from the worst movie in the Predator franchise, but in its complete failure to understand the series' appeal, it's the worst Predator movie. Review

With some judicious editing, Anemone might be refashioned into a less showy film that understands its greatest asset is the face of its iconic leading man. Review

Ironically, A Mother's Embrace is most engaging in its early scenes before it switches into horror mode. Review

Zoe never really gets a convincing hold over Samantha, so the movie's central idea about the cosmetic industry's grip on insecure women never fully lands. Review

Sullivan's performance is the most professional aspect of this venture, but even she appears confused in several scenes as to just what she's supposed to be conveying. Review

It may be the best looking and most well-acted of Lanthimos's films, but it's also the most narratively constrained, and it's notably lacking the unpredictability and hyper-absurdism of his best work. Review

Unfortunately Relay doesn't entirely trust its own process. This is a movie where the characters are secondary to the plot machinations, and we don't really need to know much about Ash and Sarah for us to become invested in their story. Review

Lawrence's portrayal of a woman well past the verge of a nervous breakdown is as terrifying as anything you'll see this year. Review

Prevert's script is packed with the sort of cynical zingers that would become the staple of bitter Noir anti-heroes. Maurice Jaubert's score is simultaneously romantic and melancholy, a constant reminder not to get too attached to the film's lovers. Review

There are a few laugh out loud moments here, though you might feel some guilt yourself for laughing at the desperation on screen. But some of it is so absurd, if all too real, that you can't help but laugh. Review

This is a film distinguished by standout performances. As the people in Springsteen's shadow, Young and Strong are quietly excellent. Review

Lineage suffers from some amateurish supporting performances, which is a real problem when the cast is burdened with so much explainey janey dialogue... Review

With its unrepentant favouring of style over substance, Diva ushered in the era of the cinema du look, a series of French movies that took their cues from advertising, music videos and comic books. Review

While the actors are solely to blame for their terrible accents, you get the sense that the cast is struggling to figure out their characters because neither the script nor the director understands these people. Review

Visually it's indistinguishable from any evil nanny movie you might stumble across on the Lifetime network. Review

The detached style and lack of traditional cutting also makes James' misadventures feel all the more realistic. It also greatly adds to the tension, and the sense that James needs to hurry the hell up. Review

Like the blast radius of a nuke, as Bigelow's drama expands its impact lessens. Review

Ballad of a Small Player is never quite sure what type of tale its spinning. Review

If you can put such ethical discomfort out of your mind, Roofman is a disarming and endearing blend of two flavours that shouldn't taste this good. Review

The result is a movie that fails to engage us on any level other than admiring some of its technical aspects. Review

The characters of Hank and Maggie are stereotypes designed to appeal to the left and right's ideas about such people. Review