Tuner

Seemingly discordant storylines are strung together into a pleasing whole by director-co-writer Daniel Roher, largely due to the effortless charm of its cast. Some keys remain out of tune, but Tuner manages more harmony than chaos.

With its breezy banter between Woodall and Dustin Hoffman's mentor figure Harry, alongside Roher's jazzy, quick-cut editing style, Tuner quickly becomes a very easy film to like. It may not be 18-carat gold, but Tuner is still a damn good watch.

Leo Woodall and Dustin Hoffman are a real pleasure to watch in an easy, unforced drama that mixes romcom moments with a relaxed crime thriller. It's a bit of a disappointment when the story starts taking predictable turns, though the characters do hold surprises even if the plot doesn't.

Tuner's premise is a tad familiar, and its ending may feel abrupt, but it is worth a watch for its engaging crime caper narrative and stylish execution.

Tuner may feel familiar, but its fab sound design, slickly edited heists and strong performances make it feel refreshingly sharp. What works for Tuner is the sharp rhythm in which those pieces are made to fall into their respective places, and the film consistently finds inventive ways to make the familiar feel compelling, particularly through its use of sound and in exploring the lead character's condition.

Tuner is beautifully written with well-realised characters. Woodall has turned in a virtuoso performance as a musician whose music has been taken away from him and a man who loves deeply and well. With an excellent balance of interiority and outwardness, where we are invested in the characters' lives and the action, Tuner keeps us fiercely tuned in.