Movie reviews of Eric Hillis

Just as Shimotsu starts to dig into this fascinating look at the generation gap, he gets distracted with some more twists that only serve to distract from the central theme. Review

In failing to stand out from the contemporary horror-comedy crowd, Death of a Unicorn is anything but a unicorn. Review

Skoglund avoids cheap scares, instead developing a sense of unease largely based around feelings of guilt regarding how characters have treated others and how they've allowed themselves to be treated by others. Review

Malkovich is the one gimmick in a one-gimmick movie, and even his unique persona can't paper over the striking lack of originality on display here. Review

Anchored by a mesmeric Hekmat, playing a very different character to the rebellious teen she essayed in last year's Hoard, Nathwani has assembled a strikingly good young cast. Review

You likely already know what you're going to get from A Working Man. It goes through the motions, but in a way that suggests everyone involved is simply clocking in and clocking out with little interest in the quality of their craft. A Working Man is no labour of love. Review

This storytelling style can often seem like a gimmick, but Cognetti uses it skilfully, displaying a novelist's knack for spinning a good yarn through knowing when to clue the audience in and when to keep us guessing. Review

Holland is yet another movie made by a streaming service that betrays a distinct lack of oversight and quality control. Sadly, it seems the people now deciding what films get made couldn't care less about quality and are content with content. Review

Blending the cheesy smarm of '80s TV with an increasingly unsettling feeling that something awful is going to happen, The Luckiest Man in America is surprisingly similar to the recent cult horror hit Late Night with the Devil, complete with a smarmy host in a bad wig, played by a shit-eating Walton Goggins. Review

It's all very entertaining until it isn't. At a certain point we find ourselves wishing the drama had more to offer than simply forcing us to watch awful people treating each other awfully, which just isn't enough to justify the film's ultimately patience-testing running time. Review

There are some nice shock moments when the creatures snap their jaws into action, and the bloodshed is proper gnarly at times. Review

Macdonald, Connolly and Klinger have created a striking work of filmic embroidery with nary a stitch out of place. Review

Y2K's biggest glitch is that it's simply nowhere near as funny as it should be. Much like our reaction to the real life panic that inspired it, Y2K leaves us shrugging our shoulders and asking "Is that it?"... Review

If La Cocina were an eatery it would be the sort with laminated menus, and it's unlikely you'd want to stick around for dessert. Review

It's as dark a scenario as they come, but Guiraudie mines humour through the growing absurdism of it all. Review

We establish early on what An Taibhse has up its sleeve, and while the movie delivers a few effective shocks, it's all too short on surprises. Review

Lianjie's debut is a silent scream from a sterile society. Review

On the horror front, it has a couple of inventive kills that might be enough to satisfy the most undemanding genre fan if enough beer is consumed, but its idiotic and ill-conceived world-building will leave you nursing a sore head. Review

It's a fun time with enough espionage to keep us engaged in its plot, but it's the quality of the cast and their understanding of the tone Soderbergh wants to strike here that makes Black Bag really tick. Review

While its narrative and ideas fail to stimulate, the same can't be said for Glorious Summer's visuals. Review

Majors is undoubtedly the film's greatest asset. His is a performance that veers between making us nauseous to earning our sympathy, often in the space of a single scene. Review

McManus's performance impressively sells both the movie's heady sci-fi themes and its message about the effects of substituting grief with vengeance. Review

It's a profoundly moving expression of adolescent female solidarity in the face of an encroaching adult world filled with uncertainty and danger. Review

Mickey 17 is a film that presumes its audience are morons, and its contempt for the viewer is summed up when Pattinson's voiceover tells us that 17 is followed by 18. With its juvenile humour and mugging performances, Mickey 17 plays like a love letter to the awful sci-fi movies of Luc Besson, but with the brightness turned down. Review