Movie reviews of Eric Hillis

For all its many flaws, there is some fun to be had here. As a Salem's Lot adaptation it's a stinker, but as a throwback to '70s and '80s horror, it provides some entertainment for genre fans who will recognise its nods to the likes of John Carpenter's The Fog, Gary Sherman's Dead & Buried and Lucio Fulci's Gates of Hell trilogy. Review

It's the central performance of Brown that really makes Daddy's Head work. The Scottish actress bears an uncanny resemblance to Isabelle Adjani, possessing the same big expressive blue eyes, which work overtime here to convey Laura's increasingly troubled and paranoid state of mind. Review

There's enough here to superficially appease an audience thirsty for sweaty SouthWest road thrillers, but Blood Star pales in comparison to its predecessors like The Hitcher, Duel and Breakdown. Review

Along with tackling society's obsession with looks, A Different Man raises other interesting questions. Review

While it may cloud the ambiguous nature of the story, Wenham's addition is also the film's greatest asset. Review

Jarvi and cinematographer Alexander Lakin take advantage of their location's neon, candy coloured funfair aesthetic, and it's a refreshing change from the grimy, squint inducing visuals of many of today's indie horrors. Review

This is a movie Phillips actually wanted to make, so why does it play like it's made by someone who has no interest in either a Joker sequel or a musical? Review

What keeps us engaged is the strength of Fox and Sklaroff's performances, which greatly help to make the fantastical scenario feel grounded. Review

Frankie Freako isn't quite as smart in its humour as Kostanski's previous love letter to '80s straight to video fare, but there's an admirable innocence here that makes the movie genuinely resemble something you might have rented as a 13-year-old in 1987. Review

Some of the segments here play like half-formed ideas that might have benefitted from more time in development, which suggest the series may be hampering itself with its current annual schedule. Review

Megalopolis is the sort of overstuffed, incessantly busy narrative that almost always results in epic failure. Review

Like the best rom-coms, it's as romantic as it is funny, but there's a depth to Park's film's that makes it stand out from the typical entry in this genre. Review

While it may not be visually compelling where its action is concerned, Azrael is often beautiful to look at thanks to some ingenious cinematography from Mart Taniel. Review

The three actresses all bring something different to the table, playing to their individual strengths while expanding their range. Review

It's at this point that The Substance hits a narrative dead end as after setting up such an intriguing scenario, Fargeat fails to follow through in compelling fashion. Review

By giving us such an abrasive protagonist and humanising its antagonists, Last Straw dares to see how we react. But for all her flaws, we're ultimately on the side of Nancy, hoping she survives the night and emerges into the dawn a better person for her ordeal. Review

We now have two versions of this story, neither of which are perfect but which both have their own strengths and weaknesses. If you want a smart social satire you can watch the original and if you prefer a straight ahead psychological thriller you can opt for this remake. Review

As any good boxing promoter will tell you, sometimes it's best to just give the public what they want, even if it is a cliché. Review

What sets Cage of Gold back is how it squanders the potential of its mystery plot, which it only really dives into in the final act. Jack Whittingham's script does a fine job of establishing the core players but the mystery is wrapped up far too promptly and neatly to generate the expected late suspense. A silver melodrama then, but a bronze thriller. Review

Subservience's plot beats are overly familiar as it drapes a sci-fi shawl around erotic thriller shoulders. But there's some fun to be had in seeing played-out thriller tropes rejigged in this way, and the movie does a convincing job of portraying its near-future world on a relatively low budget. Review

As a show reel for its leading man's talents it shows he can do comedy and drama with equal conviction. Review

Harris and Stevenson are as great as you'd expect from such established veterans of the British screen, but it's Doherty who proves the film's revelation. Review

It's the restraint that makes Rebel Ridge stand out as more sophisticated than the average revenge thriller. Review

Unfortunately we spend most of the narrative in the company of the one-note Katherine, who is played in pulseless fashion by a miscast Vikander. Along with struggling to disguise her Swedish accent, Vikander never gets to the heart of the character, which is largely the fault of a script that doesn't really know what to do with Katherine. Review