Movie reviews of Eric Hillis

Unlike the pristine pies its heroine uses to get information from salivating shopkeepers, Arzé is a little overcooked in places and relies too heavily on filling in backstories through soapy speeches. Review

I'm not entirely sure Don't You Let Me Go entirely "worked" for me, but I'm in no doubt its directors got something from this venture, and in a project of such intimacy, that's probably what counts. Review

Griffin in Summer is a subtly scathing film but it's wrapped up in a layer of sweetness. As its young anti-hero negotiates his place in the world as both a young gay man and a budding artist, it's ultimately heartwarming and hopeful in its suggestion that all outsiders need to stop feeling like outsiders is to come across some others who feel like they don't belong. Review

A significant portion of the audience will likely bail on Yang's film before it reaches its conclusion, but there are some rewards here for those willing to indulge Some Rain Must Fall. Review

Nesher dares to make her protagonist narcissistic and practically sociopathic at points, but Eden is always profoundly human, and Elalouf does a striking job of ensuring we never forget it. Review

For its first hour, Hunters on a White Field is an effective slow burn character study. Things take an unwieldy tonal shift in a final act that plunges the drama into the realm of the absurd. Review

On a superficial level The Watched certainly looks the part, and Ishana shows an eye for a moody image, but her movie lacks the human touch that distinguishes her father's best work. Review

Underneath the breezy rom-com trappings lies a dark undercurrent that the movie never grapples with... Review

As great as The G is when it comes to cleverly playing with western tropes and finely sketching the sort of characters usually painted with much broader strokes, it suffers from some messy storytelling. Review

Aside from the pristine direction and the supreme performances, what impresses most about Ghostlight is how measured the film is, both in terms of its gradual narrative and eventual emotional reveals. Review

Regardless of the thematic ambiguity, Murray certainly shoots his film in the manner of a horror movie. Review

Cronin does a fine job of economically mythologising the land in a way that means even those viewers unfamiliar with its place in fiction and true crime will immediately understand the dark hold it has over Claire. The Moor suffers from serious pacing issues however... Review

As a director, Mortensen makes great strides with his second film, displaying a knack for placing and moving his camera subtly so as to embellish the human drama rather than distract from it. Review

Birthday Girl engages in the nuanced character building of great European cinema while also delivering the sort of adult-oriented thrills that were once Hollywood's stock in trade. Review

This black and white production may not boast the technicolor and lavish sequences of the Archers' more famous works, but it's a visually striking film nonetheless. Review

Danger is ever-present, death never more than one mistake away. Everyone is respected, but nobody can be trusted. Review

We know how a movie like this will climax, but Nightsiren doesn't build up to its harrowing denouement so much as decide to arbitrarily drop it once it realises there are only 20 minutes left to go. Review

Nash understands that there's something explicitly life-affirming about witnessing fictional characters meet wildly violent demises. Review

With Hollywood intent on not just embracing AI but propagandising it with films like The Creator and Atlas, auteurs like Bonello and films like The Beast are set to play an important role. Review

Twilight of the Warriors is a comic book movie in a way Hollywood comic book movies haven't been for a long time. It's not afraid to look silly and delivers a series of larger than life heroes and villains ripped from colourful splash pages and embodied by a cast that understands the job at hand. Review

There's probably a very effective 30 minute short to be edited from The Coffee Table, but as a feature film it's something of a patience tester. Review

But thankfully such moments are few and far between as this is mostly a movie built around practical effects and stunts, of men and motors, women and wheels, all smashing into one another for our viewing pleasure. Miller, you mad bastard, you've done it again. Review

Harlin's direction is so uninspired that you can almost predict the exact sequence of shots he's about to unspool in every scene. Review

Amid all the passionate pleading and pseudo-philosophy is a striking turn by Faure, an actress who has spent the past decade in minor roles but who delivers a performance here that suggests she's destined for full-on movie star status. Review