Before Good Time and Uncut Gems, the Safdies created an anxiety-inducing portrait of a deadbeat dad trying to keep it together.
By Henry Boon
The Purple People Eater is the latest in a host of seemingly innocuous tunes that have their association forever changed through horror films.
Male models, a massive cruise liner, and a whole lot of vomit herald the coming of Ruben Östlund's latest.
The BFI’s current retrospective of the Indian auteur’s cinema gave me chance to reconnect with my homeland while studying abroad.
By Winnie Wang
The outspoken heroine of King Vidor’s 1937 drama eschews social conventions to express herself through her clothes.
Brendan Gleeson torches his longtime relationship with Colin Farrell in Martin McDonagh's new dramedy.
By Soham Gadre
As well as being a landmark achievement for filmmaker Sanjay Leela Bhansali, this romantic epic brilliantly showcases the magic Indian cinema has to offer.
By Anton Bitel
A group of medical students push the boundary between life and death in this bombastic thriller.
By Callie Petch
Twenty-five years ago Barry Sonnenfeld's workplace action-comedy broke the rules and launched an iconic franchise.
In her haunting depiction of Christine Chubbock, I recognised elements of my own experience with depression and isolation.
Andrew Dominik's long-awaited not-quite-biopic adapts Joyce Carol Oates' novel for Netflix.
Forty years on, one of Robin Williams’ earliest film roles still ranks among his best work.
There's a darker edge to the classic kiddie fable in this stop-motion take with a starry voice cast.
His first film since 2006’s Little Children centres on composer/conductor Lydia Tár as she prepares to record her magnum opus.
By Anton Bitel
A beleaguered detective faces off against two different thieves in the Hong Kong director’s two-part crime caper.
By Callie Petch
Adam Smith creates a disorientating, immersive experience through innovative camera work and editing in The Chemical Brothers: Don't Think.
Owen Kline's debut film takes us into the scuzziest corners of New Jersey in search of inspiration.
Ninety years on, Yasujirō Ozu’s silent comedy about familial disillusion still makes salient points about life under capitalism.
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.
