Movie reviews of Eric Hillis

Kudos to Kim, whose performance leads us to overlook some of her character's inconsistencies, at least while viewing. Lloyd's structuring of the film means that we're too busy guessing what's at play to interrogate some of the flaws in the script. Review

As you would expect from Peckinpah, the film's action scenes are intense and as memorable as any he created during his career. Review

While the movie is calm and calculated in its storytelling for much of the running time, Zarcilla isn't afraid to give us an old-fashioned bonkers climax, riffing on The Fall of the House of Usher and William Lustig's Maniac. Review

Annoyingly, all this insufferable performative white liberalism is capped off with a genuinely great pun. Whether you can make it to the end to experience it is another question. Review

Perhaps Oppenheimer's biggest flaw is how little insight it gives us into the man himself. Review

Is a fitting end to Loach's career, one filled with small moments of humanity that have more impact than any angry monologue. Review

Quicksand gets bogged down (sorry) in Josh and Sofia trashing out the reasons why their relationship failed. Review

Rather than exploiting our knowledge of this world to create suspense, The Red Door too often makes us sit through what feels like a retread of the first movie, right down to another boring climax in The Further. Review

The action is massive, the very definition of spectacle, but it never loses sight of the people involved. Review

Even if the script never really gives them anything of note to chew on, Beckinsale and Cox are very engaging, making Prisoner's Daughter an easy watch. But should a movie with this premise be an easy watch? Review

The Dial of Destiny probably isn't going to be a crowd-pleaser, but it seems to have made one old man happy. That's good enough for me. Review

Nazaire's performance is objectively amateurish but subjectively compelling. Review

Like so many of the Tarantino knockoffs of the '90s, Cinnamon revels in its violence but lacks the maturity to reckon with its consequences. It also shares that annoying '90s tendency for overwritten dialogue, with various characters monologuing in a self-satisfied manner that the bland writing really doesn't justify. Review

Harington is surprisingly good here, and he plays the role with something of a homoerotic frisson, like Rob Lowe in Curtis Hanson's Bad Influence. Review

Galán often seems to be lacking direction, particularly in the lengthy sequences in which she's simply walking or driving, and her performance too often lapses into a one-note snarl. Review

The effectiveness of the "twist" is a moot point however, as this is essentially a tender drama of reconnection and reconciliation. Review

For the most part, The Line is a drama about the lengths people will go to in order to fit in with those they really have little in common with. And thanks largely to some captivating performances, it works as such. Review

Je'vida is a remarkably well acted film, testament no doubt to her capabilities as a director of people who were likely eager to have their stories told as a vital means of preserving their dwindling society. Review

Our familiarity with narratives of this ilk means we suspect Matho and Bill's paths are headed for tragedy, and there's always a suspicion around white liberal filmmakers playing in a minority sandbox. Review

The Flash moves along nicely when it's being anchored by a 70-year-old actor, but when we're left in the company of the titular speedster it halts to a snail's pace. Review

At times the camera moves through the world in a way that seems inspired by those Lucasarts video games from the late '80s and early '90s, and the lack of narrative thrust gives the act of watching Asteroid City the appearance of watching someone explore the setting of an elaborate video game while ignoring the actual gameplay. Yes, it's a lovingly detailed world but can we get back to the mission? Review

Geoghegan's ensemble are a well-drilled unit, delivering performances that draw on the sort of larger than life acting style that was popular in the mid 20th century before the likes of Brando and Dean started mumbling their way to stardom. Review

The superficial storytelling means Mescal and Barrera never quite click as a screen couple, except when they're sharing a dancefloor, at which points the film erupts into life. Review

Savage calls on some classic childhood fears – the monster under the bed or in the closet, the thing that lurks in the shadows – and builds effective set-pieces around them. Review