A talented piano tuner who suffers from hyperacusis discovers an unexpected aptitude for cracking safes, turning his life upside down.
- Pivorock1日前I wasn't sure exactly what I was getting into since I turned off the trailer half way since I was already interested and didn't want to see spoilers. I was not expecting as much sincrerity as this movie has. While Niki gets away with quite a bit (including a blink and you'll miss it that is never actually mentioned), the story is interesting. But seriously, get a stethoscope, would make everything much easier xD
- Rick2026年5月17日Went cause I’m a Dolby whore, and today was the only chance to see this in that format. Ended up really enjoying the movie. Time flew by, plot was engaging, and it didn’t make the mistake of throwing in some huge action set piece towards the end, like so many movies in this style would be tempted to do. They were also passing out Dustin Hoffman bobble heads for some reason. So now I have one of those. 🤷♂️
- Hakihiko3日前A Symphony of Stolen Silence Daniel Roher jumping from documentary into his first real narrative feature, and honestly, it shows in a good way. This isn't a movie that picks one lane and stays in it; it's part heist thriller, part tender coming of age romance, and somehow it mostly gets away with juggling both. You can feel it trying to be a few different things at once, and weirdly, that's part of what makes it likeable instead of messy. The performances are really what carry this thing. The lead does a lot with very little. There's this quiet, almost guarded energy to him that never tips into "look at me acting" territory, which a lesser film would've pushed way too hard. His scenes with the love interest actually feel like two people figuring each other out in real time, not just hitting romantic beats because the script needs them to. And having an older, warmer presence around early on gives the film a nice emotional anchor, even if it leans on that a bit too much before quietly stepping back. Where the movie really earns its keep, though, is the sound. It's not just a soundtrack thing. Every click, tone, and silence is doing work here, almost uncomfortably so at times, in a way that pulls you right into how the main character hears the world. The score has this loose, jazzy feel that suits the mood perfectly, and the camera stays close and curious rather than going for big, flashy shots. It's a film that clearly knows its strongest tool isn't the plot. It's the texture. Writing wise, it's at its best when it just lets two people sit in a room and be awkward and human together. The bigger ideas about perception and reinvention are there, but they're more gestured at than fully chewed on. You sense the film knows what it wants to say without always saying it. If there's a real gripe, it's that once the plot machinery kicks into gear later on, I got the feeling that the movie was trying too hard. The stakes start feeling like stakes for the sake of stakes, and some of that earlier intimacy gets crowded out. Even so, it's the mood that sticks with you afterward, not the heist logic. A film that's more interested in how things sound and feel than in tying everything up neatly, and honestly, that's exactly why it works.
- jackmeat2026年7月1日My quick rating - 6.7/10. Not sure I have watched a heist movie built around a profession that normally puts people to sleep. Up until now. Tuner takes piano tuning and somehow turns listening very, very carefully into one of the coolest criminal skills in recent memory. I figured I was in for a slow start as Niki (Leo Woodall) and Harry (the always exceptional Dustin Hoffman) made their rounds tuning pianos. Turns out, I was only a few scenes away from realizing that perfect pitch is apparently just one career change away from safecracking. The idea is absurd in a good way. Niki has hyperacusis, making him acutely sensitive to sound, yet rather than focusing on this being solely an inconvenience, Turner makes a weapon out of it. Now all those clicks, tumblers, and metal whispers within a safe become a composition waiting to be solved. Who knew all those years spent playing and listening to pianos would end up leading him into criminal activities? Somewhere, a locksmith is questioning every music lesson they skipped growing up. Director Daniel Roher manages to maintain a very tight pace. This movie never outstays its welcome and transitions from quiet moments with characters to scenes of robbery very fluidly. Another thing I should mention is the fantastic soundtrack, because it integrates well with what happens in the scenes and not just plays over it. When you combine this with superb editing and sound design, the safecracking scenes feel exciting without using explosions and gunfire. Perhaps the heroes of Tuner are the editors and sound department. The cast certainly does their part as well. Leo Woodall makes Niki an easy protagonist to root for, balancing awkward charm with growing confidence as his unusual talents pull him further into dangerous territory. Dustin Hoffman brings his experience to Harry, while Jean Reno feels perfectly cast as the intimidating Maestro, Marius Maissner. Havana Rose Liu also shares terrific chemistry with Woodall as Ruthie, giving the film enough heart to keep the criminal antics balanced. The ending lands with a funny payoff that had me legit smile. And the movie never takes itself so seriously that it forgets to have fun. This allows it to stand out as something other than yet another dark crime thriller. Baby Driver came to mind, and yes, there are similarities. Both movies have a young protagonist who succeeds in the crime world thanks to his special musical talent. Past that, though, they couldn't feel more different. Baby Driver relies on stylish action and high-speed car chases, while Tuner builds its thrills through meticulous editing, sound, and pacing. As much as I enjoyed Tuner, I do have one nagging criticism. I cannot help feeling that it is not something that will stick with me for long. It is a fun, clever movie with very strong performances and a brilliant twist at the core of it, but once it was over, it seemed like one of those movies that you will be happy to recommend. As you will most likely tell someone that it is the one with the piano tuner, that will help you to remember the title. Fortunately, I was entertained while I was watching it, and sometimes that's all a good heist movie really needs.
- Kevin Ward2026年6月29日This was a really cool flick. A musical savant turned piano tuner finds his gifts and medical condition happen to make him particularly adept at safe-cracking. Really well composed film from a first time narrative film director. The sound design works really well to convey the aural sensations Niki (Leo Woodall) is experiencing. Loved a lot of the shot framing also feature a lot of architectural features. Think I would have liked to have spent more time with Niki and Harry (Dustin Hoffman) and their interactions. I liked their relationship the best. Woodall and Hoffman are both excellent. Also think it would have been cool to explore his musical abilities more. Once he turns to crime, the narrative leans heavy into the crime thriller element. These are nitpicks though. Really enjoyed this one. I could see myself rewatching this.
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Tunerは2026年5月21日に公開されました。
TunerはDaniel Roherが監督を務めました。
Tunerの上映時間は1h 47mです。
TunerはJoAnne Sellar, Lila Yacoub, Teddy Schwarzman, Michael Heimlerがプロデューサーを務めました。
A talented piano tuner who suffers from hyperacusis discovers an unexpected aptitude for cracking safes, turning his life upside down.
Tunerの主要人物はNiki White (Leo Woodall), Ruthie Waymon (Havana Rose Liu), Harry Horowitz (Dustin Hoffman)です。
TunerはRと評価されています。
Tunerは犯罪, ドラマ, 音楽映画です。
Tunerは、視聴者によって10点満点中9.4点をつけられています。
Tunerの予算は$700万です。
Tunerの興行収入は$1086.6万です。