Movie reviews of Eric Hillis

These are all the movies and series that Eric has reviewed. Read more at: The Movie Waffler.

Number of movie reviews: 1630 / 1630

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At over two hours, Benedetta can feel unwieldy in parts, but just when we might find ourselves beginning to drift away like a sleepy kid in church, Verhoeven throws another bit of madness on the screen to jolt us upright. Review

7.0

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11 december

11 dec

Along with the foreboding sense of doom, there's much in the way of black comedy, particularly when Petur naturally questions the life he finds his brother and sister-in-law living. Review

7.0

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9 december

9 dec

Reece is a prolific indie director who has been churning out low budget movies in recent times. Agnes is his most high profile release to date, and it will likely propel him to command bigger projects than he's so far been accustomed to. Review

7.0

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7 december

7 dec

The Power of the Dog is refreshing in that it gives us a brutally honest examination of how many gay men would have behaved in the early 20th century, transferring their shame and confusion into cruelty, attacking anyone they identify with in the hopes such a display of performative masculinity will cover their own tracks. Review

7.0

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4 december

4 dec

Pearce is bailed out to some degree by two things - the central performance of Ahmed, who does his best to humanise a wafer-thin character, and the landscape of the American South West, shot here with the fascination of a director making their first movie on American soil. Review

5.0

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2 december

2 dec

The Last Matinee is clearly a love letter to horror movies of the past, but it's penned with an unsteady hand. Review

5.0

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30 november

30 nov

But as the story drags on we find ourselves rolling up our well-tailored sleeves to check our designer watches and wishing a Paul Thomas Anderson, Martin Scorsese or Paolo Sorrentino had taken on this story of great potential. Review

5.0

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29 november

29 nov

While I never bought into Cassandra's predicament, the strength of Wizemann's direction and Saylor's performance kept me involved. Review

6.0

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27 november

27 nov

The Unforgivable has a card up its sleeve, but refusing to reveal its full hand until its dying moments turns out to be a misjudged play. Review

5.0

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25 november

25 nov

Mixing Shakespeare with folk horror and the Manson family sounds like a winning idea, but in Lapwing it results in an over-cooked stew that leaves a sour taste. Review

4.0

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23 november

23 nov

As it is, Robust ends just at the point when we're finally beginning to warm to its protagonists. Review

6.0

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13 november

13 nov

Ultimately this is the Clint Eastwood show, and your tolerance for Cry Macho's geriatric pacing and lack of high stakes drama will depend on how much you enjoy spending time in his company. Personally I can't think of too many faces I'd rather spend 105 minutes looking at. Review

8.0

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11 november

11 nov

With a little more work on honing the story, West might have created an eye-catching debut. What we get here is closer to an acting showreel for a promising young woman in Mix. Review

5.0

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9 november

9 nov

This lightness clashes with the title character's impending fate and his deep sense of regret. Yet somehow Hanks and the voice work of Landry-Jones combine to make this work. Review

7.0

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5 november

5 nov

He may be working within his comfort zone here, but Schrader's idea of comfort is still more disruptive than most American filmmakers working today, and of the Movie Brat generation filmmakers, he's arguably the one who's done the most interesting work in the past decade. Review

7.0

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4 november

4 nov

If there's little in the way of profound political insight on offer here, there are at least a couple of very entertaining performances from Marmaï and particularly Tedeschi, hilariously embodying the sort of angry woman destined to find her way onto the internet as the Karen of the day at some point. Review

6.0

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3 november

3 nov

Larrain's film keeps an open mind about its protagonist, but it's truly enamoured of the young woman she's portrayed by. Review

8.0

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2 november

2 nov

If Audiard occasionally fluffs his lines in a genre he seems ill-suited to here, visually he certainly keeps things interesting. With its bland and brutal architecture, the titular setting is an unconventional one for a romantic comedy, but Audiard and cinematographer Paul Guilhaume manage to find a beauty in the straight lines and sharp edges of the sort of tower blocks usually coded as dangerous in French cinema. Review

6.0

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30 october

30 oct

The Sanz twins deliver remarkable performances. Review

7.0

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29 october

29 oct

Sadly, such sequences are few and far between here, and whenever we're stuck in modern day London it's shot with the blandness of an episode of Hollyoaks, with writing to match. Review

5.0

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28 october

28 oct

Given its favouring of character over action, Azor relies heavily on the strength of its cast. The quiet Rongione, who has something of Truffaut about him, is a perfect foil for the larger than life Argentinian character actors he's pitted against. Review

7.0

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27 october

27 oct

Along with telling her story in confident visual terms, Hall has mined a pair of equally stunning, but very different performances from her leading ladies. Review

7.0

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26 october

26 oct

Shepherd establishes Owen as someone who understands how to craft a horror movie, but there's little here that fans of the genre will find fresh or novel. Review

6.0

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21 october

21 oct

It's strongest in its first half as we grow accustomed to Herbert's fascinating setting and political dynamics. When the big action scene does arrive it gets in and out without a fuss, unlike say the Marvel movies, which drag their dull set-pieces out to an interminable length. Review

7.0

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16 october

16 oct

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