Movie reviews of Eric Hillis

For all its problematic aspects, Waters' film always expresses an affection for its characters, representations which are joyously non-judgemental. Review

A movie about the tragedy of being unable to fully embrace the people you share a society and nation with sounds like a melancholy slog, but 3 Faces is far from it. It's essentially a comedy of the Capra/Sturges school, and with its roster of oddball characters it has something of David Byrne's True Stories about it. Review

Servillo is a force of nature, his performance so sleazy he leaves a sweat trail everywhere he moves. Review

Werewolf is a rugged and well directed thriller, an Eastern European cousin of the tough horror movies produced by independent American cinema in the Vietnam era. Review

There's something very simplistic however about how Attia presents this process, and it requires a sizeable suspension of disbelief if you're to go along with how easily Riadh is able to trace his son's steps. Review

Fisher is a real find, and her rawness sets her apart from the more conventionally trained young actors that surround her. Like every great comic performer, she can sell not just comedy but pathos, and though it takes a long time for Kayla's chipper facade to finally crack, Fisher lets us know from the off that we're watching someone suffering from serious social anxiety. Review

Remove its stylistic conceit and Blind Spot is little more than a bottle episode of a TV hospital drama. What keeps us engaged is the quality of the performances. Review

With a few adjustments to Vincent's character, Family First may have been a compelling, if derivative crime drama, but the insufferable Pellerin will have you wishing JP would tell his brother to "Look at the rabbits". Review

Had Chomko given the key character in her drama a greater role, rather than dismissing her as simply some sort of unwanted nuisance, What They Had would be an easier recommend. As it is, it's a perfectly pleasing time-passer, but one that does little to further onscreen representations of mental illness. Review

The Aftermath is a sloppy piece of storytelling, with subplots that are nowhere near as fleshed out as they really should be. Review

Everybody Knows does feel like a very well made HBO drama, but Farhadi packs as much character development and plot twists into two hours as most prestige TV dramas might over a full season. Review

Serebrennikov may be exploring heady themes like state censorship, artistic frustration and romantic insecurity, but it's all wrapped up in one of the most joyous cinematic experiences you're likely to have all year. Review

Her Smell is ultimately a film about the power of friendship, and the dynamic between Becky, Marielle and Ali is as brutally honest a depiction of the ups and downs of platonic attachment as you'll see. Review

Mid90s doesn't entirely hold together, but while some of its narrative beats feel forced, it has a raw charm that's undeniable. Review

Sadly this middle section only constitutes half of the running time of Foxtrot, but it more than makes up for the unconvincing grief-driven segments it's bracketed by. Maoz's talents suggest he might be working in Hollywood were that town not so tied to the interests of his home country's government. Review

Much praise has been heaped on the make-up work that gives Tina and Vore their distinctive features, but I have to say I found it distractingly false, less convincing than the prosthetics worn by actors playing alien races in '90s era Star Trek shows. Review

Landon's script for the sequel is such a convoluted and contradictory mess that by the movie's climax you'll find yourself nursing a worse migraine that the one Tree wakes up with every recurring morning. Review

The great thing about a good folk tale is that you can extract a message of contemporary relevance from it while also finding it a ripping good yarn. The Kid Who Would Be King is all yawn and no yarn. Review

Does Labaki genuinely care about the plight of the poor or is she simply exploiting their predicament? One has to assume the former, but her film's central hook of questioning whether poor people should be allowed to raise children positions Capernaum uncomfortably close to the realm of classist, fascist propaganda. Review

Too simplistic for seasoned sci-fi fans and too grim for kids, I'm not sure who Cameron and Rodriguez think this film is for. Review

Gilroy lazily gives us a crop of cheaply rendered art-meets-commerce stereotypes and pins his hopes on us finding entertainment value in their bloody demises, but with nobody we actually care for to carry this narrative forward, we're left yawning as a series of cardboard characters are offed in unremarkable ways. Review

Viewers primarily seeking a unique premise may find The Hole in the Ground disappointingly derivative, but for horror fans weary of movies that favour heavy plotting over the sort of brooding atmosphere and chills on offer here, Cronin's debut suggests he's a filmmaker who understands what truly makes this genre tick. Review

We meet Sacha first as a timid, vacuous airhead, but by the end of this striking film, we realise we've just witnessed the origin story of a super-villainess. Review

Unlike the letters that made Israel initially rich and ultimately a wanted criminal, Heller's film is the real deal. Review