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.

At a time when certain new releases are having praise undeservingly heaped upon them, it’s truly unfortunate when a picture that genuinely merits such attention isn’t receiving the degree of credit it’s due. Such is the case with the latest offering from writer-director Daniel Roher, a romantic crime thriller that’s handily one of the best new releases of 2026. The future of onetime piano virtuoso Niki White (Leo Woodall) gets derailed in childhood when the aspiring prodigy develops a crippling hearing impairment that leaves him audibly impaled by loud sounds, effectively ending his performance future as he sees it. However, despite this condition, he’s able to tolerate soft sounds, a capability that makes him an ideal candidate to be a piano tuner (his sense of perfect pitch helps, too). He thus works as an apprentice to a seasoned piano tuner/repairman, Harry Horowitz (Dustin Hoffman), who serves as a mentor and close friend. As it turns out, though, Niki unwittingly discovers that his skills also make him an ideal candidate for becoming a highly adept safecracker. His ability to discern nearly silent combination lock clicks enables him to open virtually any repository that would otherwise be impossible to access. And, when he unexpectedly meets a crooked security systems installer, Uri (Lior Raz), who clandestinely removes valuables from the safes of his wealthy clients, Niki is recruited to join the team. Although initially reluctant to embrace this new side hustle, Niki’s apprehension disappears when he discovers the kind of big money he can earn using his skills in this less-than-ethical manner. That’s especially true when he needs to come up with ample cash to cover the costs of an expensive emergency and winning the affections of his new girlfriend, Ruthie (Havana Rose Liu), a conservatory student who dreams of becoming an aspiring composer. But the good life into which he stumbles comes at a high cost, one that Niki desperately must find a way to cover when circumstances head south. This gradually simmering scenario brings together all of the foregoing story threads into a potentially explosive situation, one with ramifications on multiple fronts. So how will this all play out? That’s the narrative tapestry the filmmaker skillfully weaves in this release, one that’s tautly constructed, superbly written and effectively fuses material from several cinematic genres. The excellent ensemble cast (particularly this breakthrough performance for Woodall and a return to form for Hoffman) is well assembled, and the performers make the most of the fine screenplay they’ve been given to work with, especially in the areas of comic relief and surprisingly on-target philosophical observations. And, of course, there’s the music, which eloquently combines both original material and a collection of old favorites from multiple motifs. I seriously hope this offering is not forgotten come awards season, as it deserves the accolades it receives in many regards. “Tuner” should definitely be on the watch list of anyone who appreciates good cinema. And, if you see it, please spread the word to help the picture get the recognition it genuinely deserves.

The Good Will Hunting of piano tuner movies. Woodall and Liu convincingly portray extraordinarily talented characters that you both believe and care about. Entertaining from start to finish.

It wasnt a badly put together film & felt grown up but it was soo bland, safe, i never cared about the characters, the bad guys where charicatures and lame and the story never ignited into something gripping or particularly interesting

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.