Tuner (2026)

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.

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.

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.

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.

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.

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.

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.

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.

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.

The critic criticizes the film as a poor representation of neurodivergence, likening it to outdated savant tropes from Rain Man, and finds the plot dull and predictable with poor sound design.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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.