Movie reviews of Eric Hillis

A shame then that it all falls apart in the home stretch when Without Name seems to simply run out of ideas and devolves into a generic 'bad trip' movie, all psychedelic editing, abrasive sound effects and actors screaming naked into the wind. Review

After an opening that offers little in the way of innovation yet provides mild amusement nonetheless, Mindhorn spends its final hour wading through comedic quicksand, and you'll be left wishing you could watch an episode of Mindhorn the TV show, which looks like a riot, rather than Mindhorn the movie. Review

Heal the Living wastes an impressively assembled cast by giving them a series of cardboard figures to essay. Quillevere seems more interested in constructing flashy visual sequences - some of which are admittedly arresting- which suggests commercials and music promos may be a better fit for this director. Review

GOTG2 is a new low for Marvel, a cynical venture that's best described as a product rather than a movie. Review

When Heigl and Dawson are on screen together, verbally or physically sparring, the movie receives an energy boost that's sorely lacking elsewhere. Review

It's testament to Diab's film that despite so many characters on screen, we get to know all of them to some degree, along with their level of political commitment. Review

As played by the American Isaac and Canadian Le Bon, it's impossible to think of Mikael and Ana as anything other than tourists in this tragedy. Review

As a backstage comedy, Their Finest has little new to offer, but as a historical drama it occasionally dares to explore the homefront horrors of war, underlining how important it is that the show must go on. Review

This should be like a fantasy movie co-directed by George Miller and Jackie Chan, but instead it's a cynical mish-mash of too many characters, too much CG and too few fucks given. Time for this franchise to pull into a lay-by; it's been asleep at the wheel for far too long. Review

For an adaptation of a work of 19th century literature, Oldroyd's film is commendably light on dialogue, as the director spins his story in a cinematic fashion, all subtle gestures, wicked smiles and nervous frowns. This combined with the unique milieu of its Northern English industrial revolution 'new money' setting (the characters here are gruff and coarse, a million miles away from the polite, tea drinking home counties prota... Review

Fukada's film is one you'll find yourself haunted by for a considerable time after viewing, as it refuses to wrap itself up neatly. Like its distraught protagonists, Harmonium cruelly leaves us seeking emotional closure. Review

For half of its running time, Shut In plays like your typical sub-standard haunted house thriller, but at the midway point a shocking yet highly improbable twist is unveiled. Review

As a story, The Sense of an Ending plays like an invitation to read Barnes' book and fill in its gaps, and I couldn't help wondering if it may have proved more fruitful to adapt the novel as a prestige TV mini-series rather than a feature, though far more complex tales have been spun in run-times shorter than this. Luckily the film's stellar performances, led by a mesmeric Broadbent, go a long way to papering over its narrative... Review

Watching the performances of Segel (morose and practical) and Mara (morose and kooky), it's impossible not to think of Jim Carrey and Kate Winslet in Eternal Sunshine of the Spotless Mind. The Discovery would benefit greatly from borrowing that movie's comic tone rather than just its melancholy veneer. Review

I've seen Ghost in the Shell described elsewhere as visually stunning but emotionally vacuous. As Morgan Freeman might say, I agree with the second part. Review

The wit of Davies' script and the tragedy of Dickinson's situation will draw tears of joy and sorrow. It's a fitting tribute to a figure who continues to inspire young women to this day, and should be required viewing for all teenage girls. Review

Gavin understands the disturbing potential of emptiness, both as a compositional tool and as a metaphysical concept. Nothing scares us quite like our thoughts, and A Dark Song weaves its way into its viewers' minds, working its subtle black magic against us. Review

Tomboy could have been a comeback for Hill on the level of Paul Verhoeven's Elle, but it suffocates under the weight of its subject matter as its creator naively attempts to avoid controversy. Review

What makes Man Down just about worthwhile is LaBeouf's central performance, which really gives him a chance to flex his thespian muscles in a rare leading role. Review

As an FX reel, The Void should keep its creators in work for the foreseeable future, but as a horror movie it's all too lacking in the scares, suspense and thrills departments. Review

CHiPs is an insult to fans of the original show, but more so to anyone with an ounce of humanity. If there's any justice, Shepard will receive a parking ticket from the men and women of the California Highway Patrol. Review

Life is no sci-fi masterpiece, but it's classy and competent, and like those pillars of the genre, Alien and The Thing (and unlike Prometheus) it features intelligent protagonists who never behave like moronic teens in a slasher movie. Like its amorphous antagonist, it may not be quite what you're expecting, but it's worth discovering nonetheless. Review

At 140 minutes, The Lost City of Z justifies its running time. It's a banquet of a movie, a visual feast that also provides plenty of food for thought. If Gray's reach has exceeded his grasp here, it's a compliment to both his ambition and his talent. Review

There's nothing magical or romantic about this oppressive reboot. Whatever its motivation, it plays like little more than a lazy, uninspired cash-in on a recognisable property. In Hollywood, that's a tale as old as time. Review