Movie reviews of Eric Hillis

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

The Secret Scripture plays a lot like some old Hollywood melodrama that might turn up on TV on a Sunday afternoon, but those movies were immaculately crafted with taut storytelling, something Sheridan's movie can't claim. Review

If the trappings of the western genre are enough to keep you happy, In a Valley of Violence does just enough to entertain. But displaying an understanding of the genre's tropes should be the starting point for a filmmaker, not the be all and end all, as is the case here. Review

Oh and Heche are two actresses we don't see enough of, and both are exceptional here, as is Silverstone, whose Lisa gives us an idea of how Clueless's Cher might have ended up had she continued on her narcissistic path. Review

Kong: Skull Island certainly has its moments, and if you see this on a big enough screen you'll get your share of spectacle, though seeing Kong in action on his home turf is nowhere near as visually interesting as witnessing him destroy New York. Ultimately, despite its scale, it's an often underwhelming and largely soulless experience, a movie so obsessed with delivering its giant special effect it neglects to add a human heart... Review

Marmoud does just enough behind the camera to suggest he's capable of giving us a compelling Chabrol-lite thriller, but more time spent mining the skills of his leading ladies and a narrower focus from the script may have gone a long way to making Moka a more involving drama than the lifeless thriller that ultimately made it to the screen. Review

Sometimes we build filmmakers up and create monsters, giving them free reign to indulge themselves in the worst possible way. Perhaps that's the case with Mungiu. Like no other movie of recent times, Graduation is clearly the work of a great talent, but one who's simply not making an effort this time. Review

Ultimately however there simply isn't enough new material here to make Hounds of Love a fully engaging experience, yet practically everyone involved, on both sides of the camera, is someone to watch out for in the future. Review

Taken at face value, Personal Shopper is frankly ridiculous, but Assayas commits to its nonsense in a manner that makes it impossible not to get on board. Review