Movie reviews of Eric Hillis

For all its attempts to tackle heavy themes, Wolf Man is ultimately just as silly as Joe Johnston's more faithful 2010 take. Review

Chalamet's portrayal is magnetic but the script never lets him be anything more than a mumbling enigma. Thankfully we have Dylan's songs to fill in the blanks, performed in a surprisingly convincing manner here by Chalamet. Review

The lack of technical creativity is somewhat disappointing but perhaps if Soderbergh had chosen to dazzle us with his camera moves we might have become too focussed on the spirit rather than the human drama it observes and so badly wishes to be a part of. Review

It's all a big mess, which is frustrating as there are moments that hint at the affecting look at the passage of time this might have been in the hands of a filmmaker more interested in humans than gadgets. Review

For at least its first half, Get Away is an amusing send-up of the tone deaf ignorance of Brits who naively decide to holiday in parts of the world once ravaged by their ancestors, oblivious to how their presence might be received by the natives. Review

Larrain, Knight and Jolie take us beyond the well manicured, stiff postured presentation of Callas to get to the heartbreaking turmoil that exists within her in these twilight days. Review

You get the sense Sharpe and Merlant are using their roles to audition for the next Bond movie - Sharpe flops but Merlant should have Barbara Broccoli sitting up and paying attention. Review

This comedy, with its sunny lighting and witty repartee, just might make you think about the Holocaust and its echoes in more profound ways than any well-intentioned black and white concentration camp drama. Review

Dickinson and Kidman have a scorching chemistry that sucks us into their thrilling relationship. Review

While the movie admittedly mostly features close-ups and wide shots of its players conversing, there is the occasional striking composition, most notably a late shot of a distraught Juno pleading with a statue of the Virgin Mary, an image that wouldn't be out of place in a Dreyer drama. Review

Eggers' Nosferatu is practically monochromatic in its lack of colour, as though its vampiric villain has sucked all the life from the print. Review

Even if we don't entirely believe the situations Almut and Tobias find themselves in, the palpable chemistry between Pugh and Garfield leaves us in no doubt that these two people belong together. Review

Murder! serves as an example of both Hitchcock's strengths and weaknesses, his interests and his dislikes. Review

With its patient storytelling, The Order resembles a product of a more mature era of Hollywood. Review

In its mix of two storytelling forms, Blackmail provides a fascinating look at how a top director negotiated what might have been a disastrous transition. Review

Carry-On ticks all the boxes of a Die Hard clone, but there's one key element that's disappointingly missing - the asshole. Review

What ensues is a cross between a 1930s screwball comedy and a "one crazy night" narrative in the manner of the Safdie brothers. Review

Much like the enigmatic young object of Lee's obsession, you may find Queer entrancing to gaze at, but you'll be frustrated by its emotional distance. Review

Though Hitchcock would really become the filmmaker we associate with his name in the sound era, there's enough in The Manxman to make you wonder what he might have delivered had the silent era carried on a little longer, as it clearly demonstrates that he had mastered the medium by that point. Review

Of course, even a bad Hitchcock movie has its moments of visual invention. Review

The cast seem to be having a blast here, with Blanchett an unsurprising standout, but after a while it becomes less fun for the audience as the movie struggles to make hay with its potentially great scenario. Review

The young cast members seem confused regarding what tone they're expected to register, and so their performances all come off as flat and monotone. Review

Though rare, there are moments where Hitchcock works his magic here. Review

It's a shame Kerr deploys her supporting characters largely as human props, as in Beth, Ben and Stacy she has created three of the most human and relatable leads you could hope to find. Review