Crime films are a dime a dozen so to stand out amongst the pack takes originality and talent. Thankfully, writer/director Daniel Roher delivers a hypnotic knockout with Tuner, a crime thriller that is anything but ordinary. Tuner centers on Niki (Leo Woodall), a piano tuner who suffers from a hyper-sensitive hearing condition that plagues his daily life. However, he soon discovers that his condition enables him to be quite adept at cracking safes, a discovery that begins to turn his life upside down. Joining Woodall in this impressive cast is Dustin Hoffman, Havana Rose Liu, Tovah Feldshuh and Jean Reno. With this talented cast in front of the camera and Daniel Roher at the helm, this genre film becomes an unstoppable force to be reckoned with.

This is a genre film that manages to be quietly charming, but wonderfully robust in its execution. Roher’s direction is stellar throughout, delivering visceral thrills and a deft handle on tone. Complimenting his steady hand behind the camera is the phenomenal sound design that not only envelops the audience, but allows them to experience what Niki’s condition feels like as he attempts to unlock a safe’s contents or when the outside world becomes overwhelming and uncomfortably intrusive. The sound design is wielded like a sharpened tool throughout, allowing the propulsive heist sequences and more intense dramatic moments to vibrate.

The editing is absolutely top-notch here from Greg O’Bryant, paced like an uptempo jazz composition and like the film’s main character he’s able to make harmony out of the chaos. This is an immaculately put together film, the shot choices, pacing, and overall composition of the story pulling the viewer in exponentially, especially as Niki’s situation becomes increasingly more precarious and terrifying. Through its style and visual panache, the film feels like a dizzying hybrid of Baby Driver and Whiplash. However, it’s still able to carve out its own path and cement itself as a wholly unique entry into the overpopulated genre.

The performances here are also terrific. Woodall, who up until this point hasn’t quite proven himself to be a dependable leading man, delivers his best performance to date. This is a understated and nuanced performance brimming with charm, heart and magnetism. In addition to the depth his character is given, he imbues Niki with such a compelling pathos that it’s nearly impossible not to root for him as a protagonist. Roher makes it clear he wants the audience to be emotionally invested in the character before he touches a single dial on a safe, a smart creative choice that only helps elevate the thrills and emotional stakes. Hoffman is also superb here as Niki’s mentor and closest friend, essentially family to the young man. Their scenes together are the beating heart of the film, the two not only sharing an easygoing chemistry with one another, but effectively showcasing the warmth and depth of their characters’ relationship.

The budding romance between Niki and pianist Ruthie is also very entertaining and delightfully written. Woodall and Liu have fantastic chemistry and the evolution of their relationship throughout the film feels earned, especially as the two bond over their mutual love of music and composition given Niki’s history with music and playing piano himself. This is a film that wears its heart on its sleeve earnestly and manages to toe the line between heartfelt and thrilling with noticeable precision and grace due in large part to the sharp script from Roher and co-writer Robert Ramsay. As a result, this isn’t a film you can pigeonhole or throw into just one tiny box.

There are only minor setbacks holding this film back. Though it offers plenty of thrills throughout, it can’t help but fall into a handful of genre trappings. As Niki reluctantly enters the world of crime, the narrative beats his story hits feel a little too familiar and predictable, especially as he gets progressively more in over his head. The film is also a tad sluggish out of the gate, stumbling a bit to find its footing and slip into its narrative rhythm. Fortunately, once it does the film never looks back and oozes a confidence and charm that is difficult to resist.

4.5 out of 5 stars.

Tuner is not only one of the year’s biggest pleasant surprises, but also one of its finest films so far. Roher has not only made a lasting impression here, but has solidified himself as a storyteller to watch going forward. Like any memorable jazz composition, it’s breezy, lively, light on its feet, and performed with the gusto required to make it a deeply entertaining crowd-pleaser. This crime film may not be perfect, but it hardly ever goes out of tune.

Grade: 4.5/5 Stars