Movie reviews of Eric Hillis

As exercises in self-flagellation go, Land of Mine is little more than a technically well made piece of victim blaming propaganda. Review

Under Nolan's stewardship, Dunkirk plays out as a traumatic 100 minute experience, and a more stressful watch you're unlikely to find in mainstream cinema. Review

Sometimes truth is more dramatic than fiction, and I can't help but wish Kruithof had given us a straight adaptation of this murky chapter of French political history rather than his fictionalised version. Review

Roberts finds enough ways to increase the stakes of his limited scenario without ever straying into laughably unrealistic territory, and his work here is a big step up from the second rate genre movies he made in his native England and his atrocious American debut The Other Side of the Door. Review

Thankfully, Nanjiani is such an affable and genuinely amusing presence that his charm goes a long way to papering over this considerable crack. Review

24x36 isn't quite a movie about movie posters, as its subtitle suggests, but rather a movie about movie poster appreciation, an approach most viewers will find less interesting than a wider look at the art form. Review

For those who appreciate pure cinema, stories told through pictures rather than words, War is a rare opportunity to revel in the previously untapped possibilities of the modern blockbuster format. Review

Song to Song is packed with stunning imagery, though setting his film in an architecturally bland city limits the distractions for his camera. 'Any experience is better than no experience,' Mara's Faye remarks. Any Malick is better than no Malick, I guess, but for anyone deeply moved by his incredible recent output, Song to Song is the big disappointment of 2017. Review

In It Comes at Night, as in Krisha, the home is where the hatred is. Review

Homecoming may not be a great Spider-Man movie, but it's the best Peter Parker movie we've seen to date. Review

This installment seems to tear up the timeline of previous movies in the series, now informing us that the titular robots have been on Earth since the days of King Arthur. Review

The Book of Henry is awful, but it's uniquely awful, a film that will likely find a future life as the subject of screenwriting classes and drunken midnight screenings. Review

Halfway through this tiresome tale, I found myself wishing I was watching another movie, and no matter how hard I tried to love Garcia's film, we just weren't meant to be together. Review

Resembling Churchill neither physically nor aurally, Cox's performance takes a few minutes for us to settle into, but once you accept the brave choice made here by the actor, you're left in no doubt that you're watching anyone but Winston Churchill. It's this turn by Cox that holds our attention in a movie that otherwise offers scant rewards with a presentation that perhaps would feel more at home debuting on TV on a Sunday even... Review

Wright's film is a wild road trip through American popular culture, but in ignoring the less savoury elements of American culture, it feels like a huge missed opportunity. Review

As it is, My Cousin Rachel is a film that asks its audience to follow a trail of crumbs, but when we eventually reach the main course, we've long lost our appetite. Review

In aiming to please the widest audience possible, The Mummy has a little of something for everyone to enjoy, but even more to frustrate. Review

As a narrative, Norman is one of the most frustrating you'll see this year, but Gere's quietly mesmerising performance makes this a little easier to ignore. Review

Those flaws aside, for the most part Wonder Woman is a fun romp, at its best when evoking classic derring-do pulp fiction, less successful when it believes it has something profound to say about humanity. Review

After the Storm may not quite hit the peaks of the director's recent modern masterpieces, but even second tier Koreeda is essential cinema, and any opportunity to witness Kirin Kiki's wonderfully wrinkled face break into a smile is worth seizing. Review

Lay its narrative out in a beat by beat arrangement and Detour is a routine road thriller, but what elevates it above such low grade fare is its experimental execution. The story isn't important here; Detour is all about the storytelling, and like the director he pays tribute so explicitly to here, Smith displays an ability to create a minor work of art with restricted means. Review

It's also a half-assed thriller, and it fails to integrate any humour into its tedious action sequences; it's like watching two separate movies, neither of which justify their existence. Review

There's more visual invention in Salazar's Revenge than you'll probably see in the rest of this summer's would be blockbusters put together, but Ronning and Sandberg's inspired direction can't paper over the cracks of a lazy script that introduces a whole raft of new characters only to cast them aside in favour of the never more annoying antics of Depp's Sparrow, arguably the most irksome character to appear in a Hollywood franc... Review

A $175 million fiasco aimed squarely at the Men & Motors crowd, the experience of watching King Arthur: Legend of the Sword can be replicated at home by playing the audio of a random episode of Danny Dyer's The Real Football Factories over any of Uwe Boll's straight to video medieval romps. Review