If you’re a fan of propulsive crime thrillers like Uncut Gems or musically tinged dramas like Whiplash, you’re bound to have a lot of fun with Tuner, which offers shades of both while feeling fresh and unique on its own. The film follows a piano tuner as he discovers that his unique skill set leaves him well suited not only for adjusting instruments, but also for a potentially lucrative life of crime he never dreamed of. As he descends into a world he may not fully understand, he must grapple with questions of identity and what he’s willing to do for the people he loves.

Leo Woodall—who plays the film’s protagonist, Niki—may be most well-known to audiences from his performances on television, most notably as Jack in season 2 of the smash hit The White Lotus. In his first turn on the silver screen as a leading man, Woodall proves he has the chops for Hollywood longevity. His ability to internalize emotion works well here for a character who is still grappling with the person he is today and, most importantly, the former version of himself he’s been forced to leave behind. The film also boasts a number of solid supporting performances—most notably a sincere effort from Academy Award winner Dustin Hoffman as Niki’s mentor and pseudo father figure Harry, who serves in large part as the heart of the story. Also noteworthy is Havana Rose Liu (2023’s Bottoms), whose character Ruthie serves as a foil to Niki’s new ventures, but also adds a layer of emotional depth.   

Tuner is director Daniel Roher’s first narrative feature, as he has become known for his work in the documentary space. His 2022 film Navalny, which follows the (now late) Alexei Navalny’s fight against Russian president Vladimir Putin and the Kremlin, won the Academy Award for best documentary feature. Excellent documentarians know how to take true events and amplify the human stories within them in a way that feels cinematic, so it’s no surprise that Roher was able to translate that skill here. He takes what could have been a run-of-the-mill thriller and turns it into something more through the development of his characters. The script gives plenty of breathing room to let us connect with Niki and become invested in his budding relationship with Ruthie, and that initial legwork helps give weight to the events that follow.

Pacing is paramount in the success of an effective thriller, and Roher has a firm grasp on the story’s trajectory. What I found most impressive was the gradual peppering of Niki’s new crime endeavors throughout the first part of the film in a way that felt like his new lifestyle could coexist with his everyday relationships, mirroring Niki’s own mindset. That subtle and slowly building tension lulls the audience into a complacency that is rocked to its core once a particularly risky job brings Niki’s worlds crashing into each other with unstoppable force. From that point on, the film crescendos into chaos, leaving you wondering how you ever thought things could work out with no consequences. Through all the action and mayhem, the story keeps the characters and their stakes at the forefront, paying off on their development throughout. Niki, in particular, has a moment during the film’s conclusion that feels like a well-earned note for his story to end on.

From a technical standpoint, Tuner strikes all the right chords. There are several piano-playing scenes that feel alive and energetic thanks to the combined cinematography and editing work from Lowell A. Meyer and Greg O’Bryant, respectively. The true technical feat, though, comes by way of Johnnie Burn’s rich sound design. Niki suffers from a condition called Hyperacusis, an extreme sensitivity to loud noises. This reality, combined with the daily twangs that fill Niki’s life as a piano tuner, gives Burns a lot to play with and he does so with resounding success. He doesn’t settle for simply attacking our auditory senses in a way that’s jarring or excessive but makes choices that help us understand what it’s like for Niki to move through the world with a hearing impediment that many may not be familiar with. The film was clearly made with Dolby theaters in mind, and I highly recommend that as a preferred viewing and listening experience if it’s available to you.  

Whether he continues on in narrative filmmaking or returns to his documentary roots, Roher will hopefully continue to offer exciting and compelling character-driven stories for audiences to engage with for years to come.

Black Bear Pictures will release Tuner in limited theaters on May 22, with an expansion to wide release on May 29.

OSCAR POTENTIAL:

• Oscar potential: At the end of the day, Tuner may be too small of a film to break into the awards season chatter. The sound design, though, has some potential and is well-deserving of recognition. Burn’s pedigree as an Oscar winner for 2024’s The Zone of Interest and Roher’s previous success with the Academy could help get the conversation started.