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LWLies 98: The Polite Society issue – Out now!

By Little White Lies

Discover our new issue dedicated to Nida Manzoor’s heiney-kicking comedy about the life of an aspiring South Asian stuntwoman.

The unlikely prescience of Spring Breakers

By Sam Moore

A decade since its release, Harmony Korine's hedonistic vision of a fraught Floridian vacation feels like it foreshadowed plenty about contemporary pop culture.

With Shin Kamen Rider, Hideaki Anno realises a childhood dream

By Alicia Haddick

The Neon Genesis Evangelion creator brings one of Japan's most enduring morally grey heroes to the big screen, following in the footsteps of Shin Godzilla and Shin Ultraman.

Godzilla vs Megalon: in defence of a much-maligned creature feature

By Christopher Stewardson

As Jun Fukuda's kid-friendly entry into the Godzilla pantheon turns 50, it's time to revisit its message of peace and unity.

Why I Love Death Bed: The Bed That Eats

By Mark Hanson

George Barry's 1977 independent horror, about a homicidal piece of furniture with a voracious appetite, is a delightfully imaginative and wholly original relic worth seeking out.

Everyone, just let Quentin Tarantino cook

By Charles Bramesco

Is his new film about a movie critic a stealth Pauline Kael biopic? Maybe! Who knows?

Gakuryu Ishii’s Punk Samurai is an anarchic take on an ‘unfilmable’ manga

By Anton Bitel

A ronin with lofty ambitions tells a white lie that quickly spirals out of control in this riotous samurai flick.

A brief history of the “legacy Oscar” and its winners

By Charles Bramesco

Some voters informally consider the Academy Award a career-long acknowledgement; some actors resent this.

Girls with Guns: how Tuesday Weld set the blueprint for Mia Goth

By Ryan Coleman

As Mia Goth brings us unhinged excellence via Pearl and Infinity Pool, it's possible to find a parallel in the story of former wild child Tuesday Weld.

Why Stephanie Hsu should win the Oscar for Best Supporting Actress

By Anahit Behrooz

Her performance in Everything Everywhere All At Once is a masterclass in pain and rage, deserving of a closer look.

Busting the Bias presents a myth-shattering collection of shorts from Disabled filmmakers

By Meg Fozzard

Now in its second year, the BFI’s moving-image showcase centres Disabled filmmaking talent and their vital stories.

Why Stars at Noon deserves the Best Sound Design Oscar

By Catherine Bray

Claire Denis' romantic thriller is a masterclass in auditory environmental storytelling.

Why are there so few good films about social media?

By Evelyn Burke

Despite being a huge part of our every day lives, it feels as though very few filmmakers have been able to grapple with tech in a meaningful way. Is form or content the issue?

Why We Met in Virtual Reality deserves the Best Documentary Oscar

By Alicia Haddick

Joe Hunting's playful documentary is a hopeful look at the space created in virtual worlds for people to form genuine emotional connections.

FYI: The true horror of the public information film

By Ryan Finnigan

Cinema is enjoying a modern horror renaissance, but has anything lived up to the terror of early children’s safety films?

The Big Lebowski at 25: How embracing ‘Dudeism’ can lead to a happier life

By Simon Bland

Oliver Benjamin, the founder of the world’s “slowest growing” religion, reflects on how The Coen Brothers' classic crime caper inspired him to start a global movement.

In praise of Close’s depiction of youth

By Little White Lies

How Lukas Dhont’s Close adopts a more enlightened and empathetic approach to depicting young people on screen.

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About Little White Lies

Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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