Movie reviews of Eric Hillis

This testosterone-fuelled, sadistic and misogynistic horror show is an endurance test all but the most ardent supporters of GamerGate will fail. Its effects are certainly breath-taking, but rather than asking "How did they do that?", we find ourselves asking "Why did they do that?"... Review

Trier and Vogt have fashioned a very human set of humans. I'd gladly watch more relative non-adventures of the Reed family, but I'll settle for whomever else Trier decides to study under his finely tuned microscope. Review

Like the great Disney movies of old, The Jungle Book knows how to scare, delight and thrill children, of all ages. Not taking your kids to see this would be an act of parental neglect, but I advise all adults to see it themselves, children in tow or not. Trust in me. Review

Ultimately, THWW is a tale of confusion. Asked to shove a square peg into a round hole, the screenwriters are unable to come up with a convincing and simple narrative, leaving the audience scratching their heads in a futile attempt to make sense of any of this. But... Review

Those with an interest in mathematics will likely consider this a wasted opportunity to bring one of their heroes and his work into the public sphere - but casual viewers will find it a harmless time passer, thanks mainly to a charming performance from Irons. Review

Dheepan promises a ripped from the headlines examination of the immigrant experience, but ultimately devolves into a generic vigilante thriller. It's a Michael Winner movie for the cheese and wine set. Review

Hood sets up some simple elements that effectively rack up the tension; the loaves of bread on the little girl's stall is a wonderful, Hitchcockian device that visually acts as an ambiguous and nerve-wracking countdown, causing us to shout at the screen for passersby to purchase some bread. Hood's loaves of bread generate as much nervous sweat as Hitchcock's glass of milk in Suspicion. Review

It's a simplistic plot, but one that should suffice for an action romp. Snyder doesn't do romps though, and this is the most humourless and dialogue heavy superhero movie we've yet seen. I feel sorry for any kids who watch this - they may as well sit through All the President's Men for all the fun they'll have. Review

Schipper gallantly defies industry conventions by allowing top billing go to his cameraman Sturla Brandth Grovlen, the real star of the show along with Costa. Over the course of two plus hours, cameraman and actress waltz through a skillfully choreographed ballet of cinematic ecstasy. Victoria may be shot on digital, but otherwise this is nuts and bolts analogue filmmaking at its most glorious. Review

If you're expecting grand-standing speeches, you'll find Tamhane's courtroom anti-drama as frustrating as Vinay finds the Indian justice system. But if you appreciate a realistic and nuanced examination of the struggle to make progress in a society that keeps one foot firmly wedged in the mud of the past, Court makes for a mostly fascinating watch. Review

Winocour's disdain for plot in favour of tension (much of it sexual) and atmosphere building is refreshing, particularly when so deftly handled. This is a filmmaker of abundant potential. If Disney paid attention to world cinema, Winocour would no doubt find herself offered a Marvel movie. Review

Larrain keeps us at a distance, rarely judging his characters; let's face it, enough judgement will come from the viewer.Do we need yet another movie demonising the Catholic Church? Well until the church is willing to exorcise its own demons, the answer is sadly a resounding yes. Review

While the script's lack of focus proves irksome, Bryn's direction keeps his film just about ticking over, along with three great performances, made all the more impressive when you consider Jones, Elwy and Dwyfor are performing in what is presumably a second language for them. Richard Stoddard's cinematography combines with the misty Welsh landscape to create images of stark beauty. Review

10 Cloverfield Lane is far too well made to be ruined by its title, but it's a shame viewers are denied the chance to experience the film as a completely blind watch and enjoy it as the expertly constructed adult genre thriller it is. Review

On the surface, Nichols has fashioned a flawless imitation of an early '80s Spielberg/Carpenter sci-fi outing, but scratch beneath its polished and textured facade and there's little holding Midnight Special together. Just as Starman was lesser Carpenter, this is lesser Nichols, but it's still the work of a highly accomplished filmmaker, with enough surface sheen to keep nostalgic cinephiles engaged. Review

Whether you take the events presented in Risen as 'gospel' fact or merely a compelling story plucked from a book best regarded as no more than a great piece of historical fiction, Reynolds' film is arguably the best example of its type since the days when Hollywood studios poured their full resources into 'tales of the Christ'. Review

Von Horn is largely ambiguous with regards to where he stands on the liberal nature of the Swedish justice system, shooting his film largely in a detached, voyeuristic fashion, but a scene in which John's father breaks down and admits he was all too naive in believing his son could adjust back into his village suggests a wry commentary. Review

Mammal unspools in a naturalistic and organic fashion, and though it's not above a cliche or two - a character's attempt to escape their ennui by holding their breath underwater is one that's particularly tiresome - it's a largely gripping work that adds Daly to the growing list of women directors to keep an eye on. Review

The series clearly has its fans, given the healthy box office returns on each installment, but for the rest of us, this third movie plays like three back to back episodes of a TV show that knows it's been cancelled. Review

A puppet performer is capable of giving an expressionless performance, which makes it perfect for a portrayal of a man suffering the sort of ennui portrayed here. They may be a foot tall and made of rubber, but Anomalisa features two of the most human characters you'll see on screen this year. Review

Amazingly, its unabashed bigotry isn't actually the most offensive aspect of London Has Fallen - that lies with its half-finished CG effects. It's not a word of a fib when I say you could create more convincing explosions on an iPhone app, and a sequence involving helicopters resembles a cut scene from a '90s Nintendo game. Review

Made with no apparent love or understanding of the horror genre, The Other Side of the Door may well be the worst example of its kind so far. This is mainstream studio horror at its lowest ebb - lazy, derivative, inept and xenophobic. Review

Like any good punk gig, Green Room is best experienced with an audience, as Saulnier manipulates us into pogo-ing out of our seats in terror. Whether punk is dead or not is an ongoing debate, but on the evidence of Green Room, down and dirty genre cinema is alive and gobbing in our faces. Review

Hitchcock/Truffaut purports to give us an examination of the series of interviews French director/critic Francois Truffaut conducted with the master of suspense in 1962, and the resulting book. Yet after a brief introduction, Kent Jones' film morphs into yet another run of the mill Hitch doc, recounting anecdotes all too familiar to even the most casual of Hitchcock fans. Review