Movie reviews of Eric Hillis

The Red Turtle is at times a thing of beauty, but it also frustrates for a considerable portion of its running time. Ultimately it falls short of a great animated feature, but it's worth seeing for its mesmerising first half, which taken on its own merits is undoubtedly a great animated short. Review

At 139 minutes, it seems every one of Wilson's words has carried over, and while the dialogue is fantastic, there are too many plot beats that play as lazy exposition when translated to the screen so literally. That said, as uncinematic filmed plays go, Fences' words and performances are enough to make it a compelling and powerful watch. Review

There are snippets that suggest the compelling drama this might have been, but they come from a cast that commendably commits itself to a confused vision. Review

Fifty Shades Darker is a black comedy that's neither dark nor humorous, and it's a sex movie that's so unsexy my genitals had retreated inside my body by its midpoint. Review

Much of the action of this sequel takes place in art galleries, and the film is something of an art installation itself. Accusations of style over substance will no doubt greet its release, but here the style is the substance; this is action as arthouse movie. Review

Tomato Red does follow a straightforward plot, but it's first and foremost a character drama, and it's a film much like its characters; - easy to warm to, if difficult to relax around. Review

Wheatley and Jump have done a fine job of putting witty one-liners in the mouths of their characters, but when it comes to putting guns in their hands, I wish they had sold their script to a director more comfortable with visceral action. Review

At under two hours, Hancock and screenwriter Robert D. Siegel attempt to cram too much into The Founder's running time. They should have kept it simple, like, you know, a McDonald's menu. Review

The goodwill left over from Lord and Miller's film allows The LEGO Batman Movie to initially coast along in mildly amusing fashion, but after 20 minutes or so the premise quickly begins to wear thin. Review

Rings contains a few reminders that in the right hands, and made for the right reasons, this is a franchise that could still offer something worthwhile for horror fans. But it's made by the wrong hands, and for the wrong reasons. Review

Watching the excellent acting duo of Skvortsov and Isakova engage in these heated philosophical debates, shot in extended unbroken takes, is as thrilling as it is frustrating. Review

Few filmmakers are as divisive as Anderson. Most unfairly write him off as a journeyman hack, while a small faction of cinephiles believe him a master of his craft. The less hyperbolic truth is that he's probably somewhere in the middle. Anderson isn't a bad filmmaker, but he has made his share of bad films. Resident Evil: The Final Chapter is yet another misfire. Review

Hall has never been better than she is as the ticking human timebomb that is Chubbock here, delivering a performance that's heart-breaking despite its coldness. Review

Unlike other revived franchises, T2 boasts a cast who slot back into their roles with a natural ease. It's clear these actors have a lot of affection for these characters, as do a generation of British and Irish movie-goers. Your enjoyment of this reunion will likely depend on your own level of sentiment for their creations. Review

Gold doesn't boast an over-the-top performance like that of War Dogs' Jonah Hill, but it sure could use one. Anything to bring life to this dramatically inert piece of McConsense would be more than welcome. Review

Much of Lion plays out in silence as Davis relies on subtle camerawork, effective staging and the power of an actor's eyes over dialogue. Luke Davies' script commendably shuns any Oscar reel speeches, which makes the few times its characters sit down and communicate their feelings verbally all the more cathartic and moving. Review

XXX 3 refuses to take itself seriously. It seems to aim for the tone of Roger Moore era Bond, but its leading man is devoid of Moore's sleazy charm, and suffers from a lack of chemistry with his more charismatic co-stars. Review

While it opens in inspired fashion with some wicked dark humour, Prevenge progressively becomes a standard indie slasher, the sort of movie that are a dime a dozen at horror festivals, relying on the hook of a novel antagonist and a retro synth score to appease hungry genre fans. Lowe proves herself a comic talent here, but a gift for horror seems more elusive. Review

Gibson's film may not be explicitly anti-war - not anti-this-war anyway - but it sure doesn't make it seem like much fun. War is hell, Gibson suggests, but occasionally an angel like Doss emerges from its fog. Review

A career best Bening is the heart of the movie, portrayed as an angelic figure, but one with very grounded, human concerns. Review

In the current climate, filmmakers will no doubt wish to explore uncomfortable issues of race, sex and identity, and we'll likely see more filmmakers like Title use the horror genre to sneak in their agenda. I'll take that over cattle-prod jump scares any day. Review

Everyone deserves to tell their story. Holmes was exceptionally lucky to be offered a chance to tell hers, and we're equally gifted by the opportunity to watch it play out with such unflinching authenticity. Review

But let's face it, the people behind this franchise have about as much interest in the series' plot as its fans do. This is a saga that exists to sate the desire of a certain audience to watch vampires battle werewolves while British brunettes choke baddies between their leather clad thighs. Review

While a 10 part series might allow for an expansion of its many narratives, two hours is more than enough time to deliver a lead character that resembles a human with a beating heart, rather than the waistcoat wearing tailor's dummy at the centre of Affleck's adaptation. Review