Movie reviews of Eric Hillis

Whether you empathise with the loneliness and vulnerability of Fuller, Albert or Jamie, or the guilt of Laura, Gina or Beth, you'll likely find something here that strikes a chord, if perhaps an unwanted or unacknowledged one. Review

Berlin Syndrome may boast a pair of top-notch performances from its leads, along with some polished cinematography, but otherwise it's the sort of mediocre thriller that clogs up the Netflix catalogue. Review

This rapid escalation is jarring, yet Blair seems more comfortable with the revenge thriller aspect of his film than the comedy, which is weakly written and staged. Review

Berg's never been better than he is here, constructing visceral set-pieces that immerse us in the tense drama. Review

If you've ever wondered what a deadpan Nordic version of Fawlty Towers might look like, look no further. Review

It's part horror movie, with a creepy discordant score accompanying many scenes, part high school comedy, part coming of age musical, with Holmer displaying a Minnelli-like understanding of how to shoot dance sequences that's far less showy but just as effective as La La Land. Review

Visually, Nails is a cut above most UK and Irish horror, with cinematographer James Mather making nice use of light and shadow, and director Bartok shows promise in the film's key moments, but this badly needed rescuing in the script department to sell its intriguing premise in convincing fashion. Review

It's a bloody film, but there's no blood without a heart, and Logan has one pumping beneath its tough exterior. It's a story of family, but it never feels trite and forced in its message; there simply isn't time for sentimentality in its lightning paced narrative. Review

Like Crazy lacks the sort of memorable sequences required for a road movie, and the characters Beatrice and Donatello run into along the way are instantly forgettable. It's only the movie's genuinely touching climax that hints at the tender and thoughtful drama Virzi's film might have been. Review

It's a uniquely singular vision (as well as writing and directing, Biller produced, scored, edited, and designed the sets, costume and general production of her film), one that leaves you in no doubt that its creator loves cinema, and is determined to leave her own mark on its history. Review

Perez's film lacks the energy and narrative thrust of Clark's Turk 182 however, and crucially it's missing protagonists we can fully throw our support behind. Review

It's Only the End of the World may be his biggest misfire to date, but it's far from a disaster; the performances from a mouth-watering cast alone are enough to keep fans of French language cinema engaged. Review

Despite such a lack of orginality, Verbinski's love of this genre is infectious, and it's undeniably fun to watch him tick off its tropes. In terms of pacing, the movie could easily shed 30 minutes, yet at the same time its oppressive length almost becomes immersive, causing us to share Lockhart's frustration at his inability to escape the facility. Review

While the bulk of Trespass Against Us is a conventional slice of British social realism, it occasionally enters genre territory, with a couple of adrenalin pumping car chases assembled with a level of skill that suggests Smith may be more comfortable in the world of action cinema than character study. Review

The Red Turtle is at times a thing of beauty, but it also frustrates for a considerable portion of its running time. Ultimately it falls short of a great animated feature, but it's worth seeing for its mesmerising first half, which taken on its own merits is undoubtedly a great animated short. Review

At 139 minutes, it seems every one of Wilson's words has carried over, and while the dialogue is fantastic, there are too many plot beats that play as lazy exposition when translated to the screen so literally. That said, as uncinematic filmed plays go, Fences' words and performances are enough to make it a compelling and powerful watch. Review

There are snippets that suggest the compelling drama this might have been, but they come from a cast that commendably commits itself to a confused vision. Review

Fifty Shades Darker is a black comedy that's neither dark nor humorous, and it's a sex movie that's so unsexy my genitals had retreated inside my body by its midpoint. Review

Much of the action of this sequel takes place in art galleries, and the film is something of an art installation itself. Accusations of style over substance will no doubt greet its release, but here the style is the substance; this is action as arthouse movie. Review

Tomato Red does follow a straightforward plot, but it's first and foremost a character drama, and it's a film much like its characters; - easy to warm to, if difficult to relax around. Review

Wheatley and Jump have done a fine job of putting witty one-liners in the mouths of their characters, but when it comes to putting guns in their hands, I wish they had sold their script to a director more comfortable with visceral action. Review

At under two hours, Hancock and screenwriter Robert D. Siegel attempt to cram too much into The Founder's running time. They should have kept it simple, like, you know, a McDonald's menu. Review

The goodwill left over from Lord and Miller's film allows The LEGO Batman Movie to initially coast along in mildly amusing fashion, but after 20 minutes or so the premise quickly begins to wear thin. Review

Rings contains a few reminders that in the right hands, and made for the right reasons, this is a franchise that could still offer something worthwhile for horror fans. But it's made by the wrong hands, and for the wrong reasons. Review