Directed by: Daniel Roher
Written by: Daniel Roher and Robert Ramsey
Run Time: 1 hour 49 mins
In a world of sequels, streaming services and cinematic universes, it’s become increasingly difficult to make something truly original. Instead, many filmmakers seem to be taking inspiration from an array of genres in order to broaden the appeal of their work. This at least seems to be the case for Daniel Roher, Oscar-winning director of Navalny (2017), and his fictional debut, Tuner. As after exploring narratives of intense non-fiction, Roher has turned to storytelling through a blend of different genres.
His film tells the story of Niki (Leo Woodall), an apprentice piano tuner with a hyper-sensitive hearing condition known as Hyperacusis. After his boss, Harry (Dustin Hoffman) is admitted to hospital, Niki suddenly finds himself taking over the business in his absence. Later, one night while tuning a wealthy household’s piano, he stumbles upon a criminal gang trying to break into a safe. Realising Niki’s hearing extends to figuring out when the coded locks click into place, the gang take him in as their new safe cracker. However, things get complicated when he struggles to balance this new felonious lifestyle alongside his developing relationship with music school student Ruthie (Havana Rose Liu).
Tuner boasts a simple, crowd-pleasing setup, and it makes no qualms about this uncomplicated approach. Arguably, the most crucial component a film like this relies on is a charismatic cast, and this, it has. After making us all swoon in Bridget Jones: Mad About The Boy (2025), Leo Woodall steps into his first lead role, an opportunity he uses to deliver a charming and empathetic performance. Even more exciting is his back-and-forth dynamic with Dustin Hoffman, clear from the film’s opening scene. Together they establish the playful tone of the film’s first act, so it’s somewhat of a shame that they don’t share more scenes after this.
Luckily, Niki’s budding romance with Ruthie is equally as engaging, as both characters are so well rounded. With Ruthie being a music student who adores the piano and composing, and Niki being the supporting but struggling partner who, due to his condition, is no longer able to connect to music that way, it creates a tension which feels realistic, if a little heartbreaking. The early stages of their relationship especially retain this realism on a much lighter note, playing with the awkwardness of their developing connection in a way that is very endearing. Their heartfelt and humorous chemistry evokes elements of Glen Powell and Adria Arjona’s romance in Richard Linklater’s recent crime-comedy Hit Man (2023), particularly with one of the characters hiding a part of their lives which will inevitably cause complications later.
Although, the film’s many inspirations are partly its downfall. Notably, Edgar Wright’s Baby Driver (2017) is another film that Tuner shares clear parallels with, both being rom-com crime capers featuring main characters with hearing conditions. This does unfortunately make a lot of the plot developments very predictable, none more so than in the film’s third act. The elements of Niki’s life that have been established throughout start to spiral in ways that feel overly familiar, especially when it comes to his criminal activities with the safecracking gang. And while in the end Tuner doesn’t tie up these plot elements into a neat little bow, the potential setup built in the first act does feel a tad neglected by the time the film’s closing moments arrive.
Thankfully, Roher does just enough with his direction and screenplay to prevent Tuner from feeling like a complete ripoff. There’s a lot of flair in the camerawork and the editing too, in particular during one fantastic sequence crosscutting between a dramatic musical performance and Niki trying to decipher a code combination. So while some of the film’s presentation is rather pedestrian, which is to be expected given this is Roher’s first fictional feature, it’s standout scenes like these that really showcase his potential to become a prolific director in the future.
With this playful filmmaking, its witty writing and Woodall’s charismatic lead performance, Tuner plays to the crowd in pleasing fashion. Some story elements may fall a little flat on occasion, but its swift tempo keeps things sharp enough for Tuner to remain engaging. In turn, it establishes Daniel Roher as a director worth keeping an eye on; but perhaps, with his next feature, he can compose something a little bit more unique.
Star Rating: ★ ★ ★
Not Too Loud 
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