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.
Ok, so the hyperacusis-suffering piano tuner "Niki" (Leo Goodall) isn't maybe the sharpest tool in the box, but he is easy on the eye and he has a good heart. He works with "Harry" (Dustin Hoffman) until that old gent has an heart attack and finds himself on the wrong end of a $35k hospital bill. Determined to pay that off, "Niki" finds himself working late at night at a palatial mansion when he is disturbed by noises from upstairs. Investigating, he meets security consultant "Uri" (Lior Raz) and his team apparently in the act of upgrading the owner's safe. There are not many side-benefits of his acute sensitivity to sound, but he can hear the clicks of a safe's locking mechanism and so rather gullably agrees to open it for them. Next thing, he is up to his ears in illicit shenanigans that he hopes will help him settle the old man's bills and enable him to impress his new girlfriend "Ruthie" (Havana Rose Liu). She's a music student who is writing her final piece and hopeful of a chance to intern with acclaimed maestro "Maissner" (Jean Reno). Of course, it is only a matter of time before the wheels come off his money-making schemes and now it's not just his Achilles Ears that are making him vulnerable to the wrath of an "Uri" who isn't just going to let him walk away! No, to be honest the plot isn't the most convincing, but the charismatic Woodall holds the film together well as his escapades start to get the better of "Niki". Hoffman isn't used so much, but still has a few quips to deliver as he tries to be a matchmaker for his young padawan and for those of us who are not acoustically challenged in any way, the film does remind us of just how much we take our sense of hearing for granted. I don't know that this is a film that will stick in the mind for long, but if Woodall can avoid joining the Hollywood conveyor belt then I reckon his future films could be worth following.
