Movie reviews of Eric Hillis

As Queen & Slim descends into such clichés as a character hanging out of a car window to experience the simple joy of freedom, you begin to wonder how such a terrible script could have made it to the screen in its present form. Review

The film is incessantly talky, with so much dialogue that your mind begins to treat it like white noise, shutting it out to focus instead on the immaculate production and costume design. Review

Against the odds, Poots' performance adds a depth to her character that the thoughtless script is constantly attempting to undermine. Review

By its conclusion, Long Day's Journey Into Night has made it clear that memories are often false too, but as rendered by Gan and his ace cast and crew, Luo's false memories reveal a simple truth, that impactful, thoughtful, experimental, vital cinema hasn't faded away just yet. Cherish your memories, hold onto your dreams, but keep moving; exciting times lie ahead. Review

But as visually alluring as Atlantics is, it suffers from a script that struggles to pull its disparate elements together. Review

No movie can ever come close to relaying their experience, but 1917 gives it a damn good try. Review

Honey Boy cements LaBeouf as one of the most interesting actors we have today, while also introducing us to British singer FKA Twigs, making a striking debut in a largely mute performance that involves dancing as much as acting, and young actor Jupe, who is the equal of LaBeouf in their scenes together. Review

On the subject of music, Motherless Brooklyn boasts the year's most gorgeous score, a collaboration between Wynton Marsalis, Daniel Pemberton and Thom Yorke. Like Dick Pope's elegant cinematography and the stunning period recreation, it adds a layer of mahogany varnish that covers up the narrative balsa wood that Norton has constructed his flimsy yarn from. Review

The main issue with Matthias & Maxime is that neither of the title characters, nor the world they inhabit, feel remotely real. Review

The structure of Portrait of a Lady on Fire reflects that of many relationships. It begins with intrigue, leads to infatuation, followed by sated sensual desires, but thankfully this dalliance is cut short before it has time to grow stale. Review

Carwash is the cinematic equivalent of enjoying a cold pint of Belgian beer on a lazy summer afternoon. There's an almost complete absence of such conventions as dramatic conflict and narrative thrust. Instead Schmitz simply allows us to hang out with his characters, all of whom are affable in their own way. Review

In many ways, Amanda plays like a gentler, more hopeful, and arguably superior French cousin of Kenneth Lonergan's Manchester by the Sea, the main difference being that the protagonist here hasn't given up, as he simply doesn't have that luxury with a child now in his care. Review

There's an intriguing movie to be mined from this subject, but I can't help but suspect this is territory that might be more astutely explored by a filmmaker closer to its subject, i.e. a middle-aged woman who knows what it's like to hit a certain age if you don't have the luxury of resembling Juliette Binoche. Review

The movie is ironically at its best when it keeps away from its young would-be jihadists and instead focusses on Muriel, with Deneuve delivering a quietly devastating performance as a woman whose heart is being shattered by the growing idea that she can't save her grandson. Review

Seydoux and particularly Forestier are excellent as the suspects in a seemingly meaningless and motiveless murder, and Zem is genuinely intimidating as their interrogator. But it all feels like something we could watch any weeknight on TV, just a little more polished. Review

It looks more professionally made and boasts a cast of talented actors (how is Olivia Colman in this?), but a polemic is a polemic, regardless of which side of the debate it represents. Review

Along with the likes of Haneke, Von Trier, Seidl and Noé, we're now seeing the formation of a new wave of women shock merchants, with Borleteau taking her place alongside Eklöf, Ducournau and Fargeat. Lullaby is a welcome addition to their growing canon. Review

Yet for all its provocations and the work of its talented cast, Luce ultimately falls short because, like the awful "why can't we all just get along?" polemic Crash, it's a movie arguing against stereotypes that is itself filled with stereotypes, and most of its characters just don't come off as believable. Review

By making an informationally dense but emotionally shallow film, Burns has missed the message of his own movie. Review

As nonsensical as The Good Liar is, it's undeniably a lot of fun watching McKellen and Mirren lend some class to the proceedings. Review

For much of its narrative you could be watching a thriller as straightforward as Bad Influence. Yet Mortimer and DeLeeuw leave you in no doubt that this is an allegory for mental illness, with Daniel a representation of a voice in Luke's head, compelling him to strike out against a world he feels cheated by. Review

On the surface, The Wretched has a lot going for it - charismatic young leads, a great creature design and a chilling central concept - but it never quite digs beneath that surface to explore just how interesting its ideas could be if fleshed out by more nuanced filmmakers. Review

Bullets of Justice is a mix of tedium, immaturity, laugh out loud intentional comedy, laugh out loud unintentional comedy, and the odd moment of visual inventiveness. In other words, it's more satisfying than most Hollywood blockbusters, and a lot more original. Review

Despite combining over the top bloodshed with unrelenting misanthropy and a decidedly politically incorrect brand of humour, Why Don't You Just Die! never feels nasty and attention seeking in the manner of something like the Kingsman movies. While... Review