Tuner

It’s a thrill to watch this kind of original, adult movie that are all too rare these days, and Roher hits all the right notes with this move into narrative filmmaking.

Just when you thought NYC crime thrillers had run out of new ideas, here comes “Tuner,” a refreshingly inventive and captivating thug movie that focuses on compelling and rich characters over chases and shootouts.

An easy-going thriller throwback that mostly plays all the right notes, Tuner is winning and unexpectedly romantic, with Leo Woodall on fine form.

Hoffman, last seen in Francis Ford Coppola’s “Megalopolis,” is a delight, and Jean Reno provides added charisma in a small role in the film’s second half. But the film belongs to Woodall, who turns brooding silence into riveting cinema. His is a star-making performance, perfectly in tune.

Ultimately, Tuner is an enjoyable caper with a lot of elements you've seen in other movies, but rarely in this order. Impeccable production and subtle commentary will be a delight for cinephiles, while the unique setup keeps you engaged right up until the final note is played.

Tuner hums by on its lively performances and flashy visuals until we get to the last act, which is so awful that it curdled every issue I had been able to ignore or forgive.

Beyond representational qualms, Tuner is simply a bad film. The first safe-cracking sequence might be reasonably entertaining, but repeated over and over it becomes extremely dull.

Leo Woodall continues his impressive rise as one of today’s most interesting and talented actors. He plays a piano tuner with a heightened sense of hearing, which can be a problem for him. His gift draws the attention of a criminal gang, who use his talents to crack open safes. You can probably figure out where that takes him. Woodall centers the film with his quietly compelling performance and Dustin Hoffman, as his mentor, brings his personable charms. This is the first narrative film from documentary director Daniel Roher and his assured approach keeps the film involving without any big gangster action (plus a robust final scene). This movie’s focus is fully on the challenges that Woodall’s character faces and it succeeds, thanks to his strong performance.

Woodall delivers an excellent performance, backed by a fantastic score, but the film is let down by a recycled plot and an uninspired script. The narrative stretches credibility to breaking point, abandoning realism and logic in favour of increasingly implausible developments

(Mauro Lanari) After "Baby Driver" (Wright 2017), "Sound of Metal" (Marder 2019), and "CODA" (Heder 2021), we now have "Tuner", continuing the trend toward inclusivity for people with disabilities in the realm of sound. Reorganizing existence from their auditory perspective doesn't bring any significant novelty, yet we cling to them as though they were the bearers of some profound revelation. The movie never becomes tiresome; nevertheless, it remains inconclusive. 5½

Interesting premise and start. Half way through it turned stupid. Preposterous. If you came to see Dustin Hoffman , don’t blink. He has a minor part and is gone after 30 minutes . I walked out with about 15 minutes to go.

The protagonist—an anti-hero—possesses special abilities that are recognized by criminals. The protagonist's mentor runs into financial trouble, and then there is a woman in the mix. Fundamentally, nothing extraordinary, though not bad per se. Unfortunately, however, the details and execution are just as ordinary and uninspired as the basic plot.