Piano tuner Niki (Leo Woodall) has a good life working with Harry (Dustin Hoffman), which is interrupted by his discovery of an attempted robbery at a wealthy house at which he is working. Although he initially turns down the gang’s offer to work for them, Harry’s health problems result in him joining them as a safecracker, where his heightened sense of hearing gives him an advantage. However, Niki’s criminal activities come into conflict with his relationship with aspiring music student Ruthie (Havana Rose Liu).

Director Daniel Roher, who also co-wrote the script, keeps things pacy in his debut feature, skilfully intercutting between Niki’s safecracking and his growing relationship with Ruthie in a way that doesn’t sacrifice character development, but also doesn’t slow the film down.

In addition, his use of sound design is impressively creative, with the amplified clicks and whirrs of the safe mechanisms, along with other changes in sound levels, putting the audience in Niki’s shoes in experiencing how he hears his surroundings.

Whilst the narrative elements aren’t anything new – man with special skill becomes involved in crime whilst balancing relationship with oblivious girlfriend – Roher manages to make them interesting through his adept execution of them that keeps the overall film feeling fresh.

This vitalised sensibility extends to the cast, with Woodall impressing in his first lead role as Niki, effectively portraying the character’s struggles with his hearing as well as concealing his criminal activities. In particular, his chemistry with Liu makes any threat to their relationship feel severe as well as underlining Niki’s darker moments.

Liu herself is also very good, making Ruthie a fully-rounded character with her own aspirations and fears being evident, elevating her above the stereotypical ‘love interest’ archetype that the character could have easily become.

However, it’s Hoffman who really excels. This shouldn’t come as a surprise, considering the acting legend’s considerable talent, but the character of Harry provides him with ample chances to verbally spar with Woodall and show that despite being 88, he’s still got it.

The only weak point in the film is in Niki’s backstory, which feels as if it could have been fleshed out more throughly in order to make his low points feel more dramatic.

This issue aside, Tuner is a well-made, gripping thriller with enough humour and skilfully-directed sequences to make it stand out amongst the usual releases. Roher makes great use of his talented cast through his directing and writing – it’ll be interesting to see what his next film as a director will be.

Screening at Filmhouse, Edinburgh until Thu 11 Jun 2026