Rating 8/10
This indie crime thriller came and went with little fanfare, but it’s one of those hidden gems that’s absolutely worth seeking out. Directed by Daniel Roher, the Oscar-winning documentarian behind Navalny, and co-written with screenwriter Robert Ramsey (Life, Intolerable Cruelty), the saga has a sharp sense of tension. Lowell A. Meyer’s cinematography also gives the movie a visual confidence that belies its modest budget. You can see why an actor of Dustin Hoffman’s stature was drawn to a small part. The characters have real depth in this carefully constructed gem.
Niki White (Leo Woodall) is a gifted piano tuner. He once had aspirations of becoming a musician, but a condition called hyperacusis ended that dream. Niki must wear ear protection at all times because of his extreme sensitivity to sound. The sound design is particularly effective, helping us experience the world the way Niki does. When an air horn is used as a weapon later, you don’t just understand his pain; you feel it.
While working for his mentor Harry (Dustin Hoffman), Niki discovers a unique talent. When Harry forgets the combination to a safe, the apprentice realizes he can hear the subtle clicks inside the lock mechanism. Before long, he has taught himself to open safes without knowing the combination. The young piano tuner wants to help Harry after a serious heart attack leaves him and his wife, Marla (Tovah Feldshuh), struggling financially.
That need draws him into a crew of thieves led by Uri (Lior Raz), who use a security business as cover for robbing wealthy homes. Niki also falls for Ruthie (Havana Rose Liu), an ambitious young pianist with a bright future ahead of her. Soon, all of these disparate elements collide in unexpected ways.
It’s a clever setup for a stylish tale. What elevates it is the characterizations, particularly Leo Woodall’s performance. Niki is a handsome, good-hearted young man who seems simpler than he really is. He has a talent for safecracking and a strong desire to help his mentor with his mounting medical bills. Woodall’s understated charisma makes the reluctant criminal easy to root for, even when he’s making bad decisions.
Hoffman’s role is small, but he’s memorable whenever he appears. Harry is loud, irascible, and reminiscent of Al Pacino in Scent of a Woman. The love story also works. There’s a charming meet-cute in which Niki impresses Ruthie by identifying every note she plays by ear. Havana Rose Liu is appealing, but her pianist might have felt more sophisticated if she swore less. Still, the relationship is essential, and they have palpable chemistry. Jean Reno is also nicely cast in a brief but notable cameo.
This account has suspense, humor, and warmth. What impressed me is how successfully it shifts between tones. At times, it plays almost like a low-key rom-com, with the budding romance giving the film real sweetness. Then it suddenly changes gears and becomes a tense, stressful crime thriller. The actors make both sides work. I did find myself questioning whether Niki honestly believed he could rob safes for a professional criminal crew and simply walk away whenever he wanted. Some of the broader plot developments are easy to anticipate, but the film still finds room for a genuinely clever surprise. More importantly, the performances really sell the story.
Tuner may not hit every note perfectly, but it’s so entertaining that I was happy to stay and listen.
06-16-26