---
title: "Tuner"
year: 2026
kind: "film"
canonical: "https://film.one/film/tuner"
fi1m_id: "tuner"
imdb_id: "tt33296751"
tmdb_id: 1340206
wikidata_id: "Q130660452"
fi1m_score: 74
critics_score: 73
critics_reviews: 17
published: "2026-09-09"
updated: "2026-09-18T08:37:43.208286+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Tuner (2026)

Directed by Daniel Roher · 1h 48m · MPA R · Crime, Drama, Thriller

## Identity

Tuner

- **Canonical:** https://film.one/film/tuner
- **Type:** Film
- **Fi1m ID:** tuner
- **IMDb ID:** tt33296751
- **TMDB ID:** 1340206
- **Wikidata ID:** Q130660452
- **Same entity:** https://www.imdb.com/title/tt33296751/, https://www.themoviedb.org/movie/1340206, https://www.wikidata.org/wiki/Q130660452

**Fi1m score: 74** · Critics 73 from 17 reviews

*In a sentence:* A man who can hear a safe think and is the last to hear the plot coming

> Daniel Roher’s first fiction film puts a piano tuner’s ears to work on locks, and the sound design makes every click count. The story is one we have heard before, but Woodall, Hoffman and Liu play it as if nobody had.

## Synopsis

Niki White (Leo Woodall) tunes pianos, and hears more than he would like to. His hearing is so acute that a busy street or a dropped fork can hurt, and the only place it earns him a living is at the keyboard, working alongside Harry Horowitz (Dustin Hoffman), an older tuner who taught him the trade. When it becomes clear that an ear which can catch a wire going a hair flat can also catch the tumblers turning inside a safe, Niki finds himself with a second, less legal skill and people willing to pay for it. Havana Rose Liu plays Ruthie, the woman he meets in the middle of all this. Lior Raz and Gil Cohen are Uri and Yoni. Daniel Roher directs, from a script he wrote with Robert Ramsey.

## Review

Daniel Roher has made a heist film about listening. Niki White (Leo Woodall) tunes pianos for a living because his hearing is too sharp for almost anything else; a restaurant is an assault, a subway platform a punishment. He works with Harry Horowitz (Dustin Hoffman), an old tuner with a lot of opinions and a shrinking client list, and somewhere in the first half hour it occurs to somebody that an ear which can catch a string drifting flat can also catch the wheels of a safe lock dropping into place. The film that follows is familiar in shape and made with real care, and we had a good evening in its company.

The best thing in it is the sound. Roher puts us inside Niki’s head, so that when he leans in to a piano everything else falls away and we hear the hum of one wire against another, and when he turns to a safe we hear the small metal sounds nobody else can. The first time a lock gave up its number to him we realised we had stopped breathing, and that nothing on screen had moved but a hand and a dial. Will Bates’s score knows when to stay out of this; his cues are spare around the safes and warmer around the piano work, and he lets the mechanisms make their own music.

Woodall plays Niki as a man who is always slightly braced, shoulders up, eyes narrowed against the next noise, and he is careful never to turn the condition into a party trick. The gift is a nuisance to him first and a talent second, and that order is what keeps the film honest. Hoffman has the good lines and knows it. Harry grumbles, corrects, complains about the customers and about Niki, and Hoffman does it with the timing of a man who has been funny on screen for a long time and sees no reason to stop. Havana Rose Liu gives Ruthie more than the script strictly writes for her, a quick intelligence that makes the romance feel like two adults rather than a subplot.

Lowell A. Meyer shoots the pianos and the safes the same way, close, from the side, with the light catching brass and felt and the inside of a lock, so the two trades look like one. Peter Cosco’s production design gives the film its texture: grand pianos in other people’s living rooms, a workshop full of tools with no obvious purpose, safes that look heavy enough to hurt. Sarah Millman dresses Niki in the clothes of a man who does not want to be noticed and Harry in the clothes of a man who stopped buying any some years ago. Greg O’Bryant cuts the tuning and the cracking together as montage, so that one skill flows into the other and we understand the argument without a line of dialogue.

The script, by Roher and Robert Ramsey, is where the film is ordinary. Every turn arrives on schedule. The man with the money, Uri (Lior Raz), is exactly the sort of man such films have, and Gil Cohen’s Yoni exactly the sort of associate. We could see the last act coming from a long way off, and when it came it was busier and louder than the film had been, which is an odd fault in a picture whose whole point is the value of quiet. The romance and the heist never quite decide which of them is in charge.

One complaint against it deserves an answer. There is a worry that a film about a hypersensitive man with a hidden talent is one more story in which an affliction turns out to be a superpower. We felt the pull of that, and we also felt the film resisting it, mostly through Woodall, who plays the hearing as something that costs him every day, and through Jean Yoon’s Dr Madeline Richard, who treats it as a medical fact rather than a marvel. It comes close to the cliché. It does not, to our ear, fall into it.

Roher comes from documentaries, and it shows in the patience of the early stretches, the way the camera sits and watches a man do a job properly. It is that patience, rather than the plot, that makes *Tuner* worth seeing. See it in a cinema, where the sound is the point, and forgive it for knowing less about surprise than it knows about listening. It runs 108 minutes and carries a 15.

*Fi1m score 74, published 9 September 2026.*

## What the critics say

Most critics like Tuner, and for the same reasons. Daniel Roher’s first fiction film is described as a brisk, good-natured crime caper, and the praise lands most heavily on Leo Woodall as the piano tuner turned safe-cracker; several reviews call it his best work. The sound design, which puts the audience inside his oversensitive hearing so that every click of a lock registers, is the second thing almost everyone mentions. Dustin Hoffman is warmly received in support.

The reservations are about the plot. Several reviews find the twists predictable and the story more conventional than its premise, and a few feel the romance, comedy and thriller strands never settle into one tone. The spread is otherwise narrow. The one outright dissent comes from Little White Lies, which objects to the handling of the lead’s neurodivergence and finds the sound design weak; IndieWire, less severely, thinks Woodall miscast and prefers Havana Rose Liu, whose performance is praised across the range.

## Straight answers

**Is Tuner worth watching?**

*Tuner* is worth watching for anyone who likes a heist film built on craft rather than surprise, and we scored it 74. The sound design and Leo Woodall's braced, wary performance are the reasons to see it; the script by Daniel Roher and Robert Ramsey delivers every turn on schedule, and the last act is louder than a film about listening should be.

**How long is Tuner, and what is it rated?**

*Tuner* runs 1h 48m and is rated R by the MPA in the US. It is a crime and drama film.

**Where can I watch Tuner in the US?**

*Tuner* is available to rent from Amazon Prime Video and Apple TV from $5.99. Availability is checked daily; the links above go straight to each service.

**How does Tuner compare to The Conversation?**

*Tuner* and [*The Conversation*](https://film.one/film/the-conversation) are both about men who listen for a living, but Coppola's film is the tighter and more unsettling of the two, and the one we would recommend without hesitation. Roher's is warmer and more conventional, a heist picture with a romance attached; choose it for the sound and the performances, and *The Conversation* for suspense and Gene Hackman's loneliness.

**What should I watch after Tuner?**

After *Tuner*, try [*The Conversation*](https://film.one/film/the-conversation) (1974, Fi1m 92): A man who listens for a living and wishes, too late, that he had not. Then [*Sound of Metal*](https://film.one/film/sound-of-metal) (2019, Fi1m 84): Hearing as the plot again, but here the drummer is losing it rather than drowning in it; and [*Sexy Beast*](https://film.one/film/sexy-beast) (2000, Fi1m 85): A reluctant safecracker, a relentless recruiter, and the best shouting in British crime cinema.

### Reviews we read (21)

- **Financial Times**, Danny Leigh (★★★★★): A clever, soulful crime thriller that feels blissfully correct, with pitch-perfect turns from Dustin Hoffman and Leo Woodall. The director connects smart contemporary insights to joyful B-movie mechanics and excellent sound design. [Read](https://www.ft.com/content/b29a0d94-33af-4e3f-b74e-beb3ba6a2e90)
- **The Observer**, Wendy Ide (85/100, inferred): The film is a crisp and pacy crime flick elevated by its musicality in editing, camerawork, and score. Leo Woodall delivers a pitch-perfect central performance as the hypersensitive piano tuner turned safe-cracker. [Read](https://observer.co.uk/culture/film/article/tuner-hits-all-the-right-notes)
- **Los Angeles Times**, Katie Walsh (80/100, inferred): Roher's narrative debut delivers a classically structured crime-romance with jazzy rhythms, strong ensemble work, and a star-making turn from Woodall as the goodhearted tuner drawn into safecracking. The subjective sound design and throwback adult storytelling stand out as fresh surprises. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-05-29/tuner-review-leo-woodall-dustin-hoffman-jean-reno-daniel-roher)
- **Radio Times**, Max Copeman (4/5): The critic calls it a breezy, well-crafted crime caper with inventive direction and sound design, praising Woodall's performance and the affection for craftsmanship, though noting predictable twists; it ends with a flourish. [Read](https://www.radiotimes.com/movies/tuner-review/)
- **Empire**, Harry Stainer (75/100, inferred): The critic finds Tuner an easy-going and winning thriller throwback that is unexpectedly romantic. They single out the sound design for making the audience aware of every note and click, creating tactile tension. [Read](https://www.empireonline.com/movies/reviews/tuner/)
- **The Times**, Tom Shone (75/100, inferred): Leo Woodall gives his best performance since One Day in a heist thriller that pairs him effectively with Dustin Hoffman. The actor brings a touch of Marlon Brando to the role. [Read](https://www.thetimes.com/culture/film/article/tuner-my-mothers-wedding-reviews-gflg952fh)
- **Variety**, Peter Debruge (75/100, inferred): Roher's pitch-perfect narrative debut finds possibility in the niche piano-tuning world with a strong cast led by Woodall and Hoffman; it mixes rom-com, crime thriller, and existential elements in a character-driven way reminiscent of 90s dramas. [Read](https://variety.com/2025/film/reviews/tuner-review-dustin-hoffman-leo-woodall-1236503157/)
- **IndieWire**, Caleb Hammond (60/100, inferred): The critic calls the film a pleasurable romance with a revelatory performance from Havana Rose Liu but finds Leo Woodall miscast and criticizes the overly predictable plot that would have benefited from more surprises. The narrative debut shows promise but leans too conventional. [Read](https://www.indiewire.com/criticism/movies/tuner-review-havana-rose-liu-1235148539/)
- **Time Out**, Helen O’Hara (3/5): The critic finds it a genial, character-led crime drama with strong performances, especially from Leo Woodall and supporting cast, and nice romantic and montage elements, but notes it becomes contrived and is a light diversion rather than a masterpiece. [Read](https://www.timeout.com/movies/tuner-review-2026)
- **Little White Lies**, Lillian Crawford (3/1/1): The critic criticizes the film as a poor representation of neurodivergence, likening it to outdated savant tropes from Rain Man, and finds the plot dull and predictable with poor sound design. They single out Havana Rose Liu's performance as the only compelling element but overall call it a bad film. [Read](https://lwlies.com/reviews/tuner)
- **Sight and Sound**: The critic praises Roher for crafting an original crime story with beautiful construction around pianos, safes, and relationships. They highlight the stylish direction, editing, and sound design that immerses in the protagonist's hearing, while noting the contemporary take on the central romance leaves an imperfect but satisfying ending. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/tuner-daniel-rohers-stylish-neo-noir-finds-surprising-harmony-between-crime-romance)
- **Slant Magazine**, Chris Barsanti: The critic highlights the film's appealing cleverness and lightness of touch in its modern noir style, with strong character work, a heartfelt romance, and an emotionally satisfying conclusion. The balance between heist elements and personal drama is praised for feeling three-dimensional rather than mechanical. [Read](https://www.slantmagazine.com/film/tuner-review-leo-woodall-dustin-hoffman/)
- **The Hollywood Reporter**, Stephen Farber: The critic praises Daniel Roher's striking transition from documentaries to narrative filmmaking, crafting an engaging mix of character study and suspense caper that should appeal to audiences. Woodall's effortlessly charismatic and sensitive lead performance is singled out as a standout that could propel him to stardom. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/tuner-review-leo-woodall-dustin-hoffman-1236479583/)
- **The New York Times**, Brandon Yu (Critic’s Pick): The critic highlights Leo Woodall's magnetic, bruised charisma in this vibrant if somewhat odd film about a piano tuner with hyperacusis who turns to safecracking. It blends harmonies, heists, and emotional hurt effectively thanks to the lead performance. [Read](https://www.nytimes.com/2026/05/21/movies/tuner-review-harmonies-heists-and-hurt.html)
- **Deadline**, Pete Hammond (85/100, inferred): The critic praises the film as an entertaining rom-com crime thriller, highlighting Leo Woodall's strong leading performance and Dustin Hoffman's charming supporting role with the best lines. They single out the impressive direction and script handling of shifting tones by first-time narrative director Daniel Roher, along with excellent sound design. [Read](https://deadline.com/2025/08/tuner-review-leo-woodall-dustin-hoffman-telluride-film-fest-1236502593/)
- **Film Stories**, James Harvey (80/100, inferred): The critic finds it a fun, funny and cosy date-night movie elevated by strong chemistry between leads Woodall and Liu, along with sharp sound design and well-crafted plotting. While it shares some surface similarities with another music-driven crime caper, the film is praised for feeling original and leaving viewers smiling. [Read](https://filmstories.co.uk/reviews/tuner-review-good-vibrations/)
- **HeyUGuys**, Linda Marric (4/5): Roher’s patient, observational style grounds the thriller in textures of sound and human vulnerability, with standout restrained work from Woodall and warmth from Hoffman and Liu. The film stands out for linking musicianship to criminality but loses some momentum in a busier final act. [Read](https://www.heyuguys.com/tuner-review/)
- **The Skinny**, Philip Concannon (★★★★): The critic finds the premise somewhat generic but praises Roher's sharp direction, tight editing, and strong performances, especially from Leo Woodall and Dustin Hoffman, which ground the story in character and make it worthwhile. Sound design and tension-building sequences are highlighted as elevating the familiar heist narrative. [Read](https://www.theskinny.co.uk/film/new-releases/tuner)
- **The Wrap** (80/100, inferred): The critic calls it a gorgeously executed tale about creative paralysis and second chances, praising the breakout performances of Leo Woodall and Havana Rose Liu, impressive sound design and music, and the innovative use of sound in the narrative. They note the chemistry and memorable supporting turns. [Read](https://www.thewrap.com/tuner-leo-woodall-havana-rose-liu/)
- **Collider**, Victoria Luxford (7/10): The critic finds it an enjoyable caper with familiar elements but praises the unique premise, terrific sound design, and endearing performances from Woodall and Hoffman. It balances genres and makes points quietly. [Read](https://collider.com/tuner-review-dustin-hoffman-leo-woodall-daniel-roher/)
- **The Playlist**, Gregory Ellwood (C+): Roher shows promise in his narrative debut with solid performances and engaging setup, yet struggles to balance romance, comedy and thriller elements into a cohesive tone. The result is a palatable but safe and unremarkable effort that feels too restrained. [Read](https://theplaylist.net/tuner-review-leo-woodall-is-a-piano-man-who-risks-it-all-telluride-20250831/)

## Details

- **Director:** Daniel Roher
- **Director:** Daniel Roher
- **Writer:** Daniel Roher, Robert Ramsey
- **Cinematography:** Lowell A. Meyer
- **Editor:** Greg O'Bryant
- **Music:** Will Bates
- **Production design:** Peter Cosco
- **Costume design:** Sarah Millman
- **Producer:** Lila Yacoub, JoAnne Sellar, Teddy Schwarzman
- **Cast:** Leo Woodall as Niki White; Dustin Hoffman as Harry Horowitz; Alisen Down as Mansion Homeowner; Ellyn Jameson as Ellyn; Tim Blair as Studio Manager; Tovah Feldshuh as Marla; Jean Yoon as Dr. Madeline Richard; Havana Rose Liu as Ruthie
- **Runtime:** 1h 48m
- **Certificate (MPA):** R
- **Release (the US):** 22 May 2026
- **Genres:** Crime, Drama, Thriller
- **Budget:** $7 million
- **Box office:** $14 million
- **Trailer:** https://www.youtube.com/watch?v=XiehvETTjTQ

## Where to watch in the US

- Amazon Prime Video: rent $5.99, uhd
- Apple TV: rent $9.99, hd
- Amazon Prime Video: buy $14.99, uhd
- Apple TV: buy $14.99, hd

*Checked 2026-09-10.*

Also available in: AT, AU, BR, CA, CL, CO, DE, ES, GB, MX, NZ, PL, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Rififi* (1955): The safe-cracking sequence every heist film since has been trying to hear again.
- *Thief* (1981): Michael Mann’s craftsman criminal, in love with his tools and undone by his partners.
- *The Conversation* (1974), Fi1m 92: A man who listens for a living and wishes, too late, that he had not. — [Fi1m page](https://film.one/film/the-conversation.md)
- *Sound of Metal* (2019), Fi1m 84: Hearing as the plot again, but here the drummer is losing it rather than drowning in it. — [Fi1m page](https://film.one/film/sound-of-metal.md)
- *Sexy Beast* (2000), Fi1m 85: A reluctant safecracker, a relentless recruiter, and the best shouting in British crime cinema. — [Fi1m page](https://film.one/film/sexy-beast.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/tuner