Movie reviews of Eric Hillis

When Woman of the Hour gets away from the bright lights of the Dating Game studio it really comes alive. Review

The Apprentice sometimes struggles with its difficult task of finding the "real" Donald Trump when at this point Trump probably doesn't even know himself, but Stan and Strong keep us compelled by finding the human hearts of these monsters. Review

I even like the fact that The Crime is Mine didn't tickle my particular fancy (which, I think, is what this bubbly number sets out to do), because it proves his idiosyncrasy: great artists should always be divisive. Alas, The Crime is Mine wasn't for me, but maybe it will be for you. Review

Ghost Game isn't one of the year's worst horror movies, but considering the talent previously displayed by its director and the potential of its premise, it's certainly one of the most disappointing. Review

Some bleak comedy is mined from said teens trying to figure out if the world is really collapsing or they're simply having a very bad trip, but for the most part MadS plays out its apocalyptic drama with a straight face, and with violence that recalls the New French Extremity movement that peaked two decades ago. Review

For all its many flaws, there is some fun to be had here. As a Salem's Lot adaptation it's a stinker, but as a throwback to '70s and '80s horror, it provides some entertainment for genre fans who will recognise its nods to the likes of John Carpenter's The Fog, Gary Sherman's Dead & Buried and Lucio Fulci's Gates of Hell trilogy. Review

It's the central performance of Brown that really makes Daddy's Head work. The Scottish actress bears an uncanny resemblance to Isabelle Adjani, possessing the same big expressive blue eyes, which work overtime here to convey Laura's increasingly troubled and paranoid state of mind. Review

There's enough here to superficially appease an audience thirsty for sweaty SouthWest road thrillers, but Blood Star pales in comparison to its predecessors like The Hitcher, Duel and Breakdown. Review

Along with tackling society's obsession with looks, A Different Man raises other interesting questions. Review

While it may cloud the ambiguous nature of the story, Wenham's addition is also the film's greatest asset. Review

Jarvi and cinematographer Alexander Lakin take advantage of their location's neon, candy coloured funfair aesthetic, and it's a refreshing change from the grimy, squint inducing visuals of many of today's indie horrors. Review

This is a movie Phillips actually wanted to make, so why does it play like it's made by someone who has no interest in either a Joker sequel or a musical? Review

What keeps us engaged is the strength of Fox and Sklaroff's performances, which greatly help to make the fantastical scenario feel grounded. Review

Frankie Freako isn't quite as smart in its humour as Kostanski's previous love letter to '80s straight to video fare, but there's an admirable innocence here that makes the movie genuinely resemble something you might have rented as a 13-year-old in 1987. Review

Some of the segments here play like half-formed ideas that might have benefitted from more time in development, which suggest the series may be hampering itself with its current annual schedule. Review

Megalopolis is the sort of overstuffed, incessantly busy narrative that almost always results in epic failure. Review

Like the best rom-coms, it's as romantic as it is funny, but there's a depth to Park's film's that makes it stand out from the typical entry in this genre. Review

While it may not be visually compelling where its action is concerned, Azrael is often beautiful to look at thanks to some ingenious cinematography from Mart Taniel. Review

The three actresses all bring something different to the table, playing to their individual strengths while expanding their range. Review

It's at this point that The Substance hits a narrative dead end as after setting up such an intriguing scenario, Fargeat fails to follow through in compelling fashion. Review

By giving us such an abrasive protagonist and humanising its antagonists, Last Straw dares to see how we react. But for all her flaws, we're ultimately on the side of Nancy, hoping she survives the night and emerges into the dawn a better person for her ordeal. Review

We now have two versions of this story, neither of which are perfect but which both have their own strengths and weaknesses. If you want a smart social satire you can watch the original and if you prefer a straight ahead psychological thriller you can opt for this remake. Review

As any good boxing promoter will tell you, sometimes it's best to just give the public what they want, even if it is a cliché. Review

What sets Cage of Gold back is how it squanders the potential of its mystery plot, which it only really dives into in the final act. Jack Whittingham's script does a fine job of establishing the core players but the mystery is wrapped up far too promptly and neatly to generate the expected late suspense. A silver melodrama then, but a bronze thriller. Review