By Mark Asch
Nicolas Cage plays an otherwise unremarkable college professor who unexpectedly finds himself appearing in peoples' dreams in Kristoffer Borgli's latest satire.
By Mark Asch
More cinema of ominous discomfort from Kitty Green as she takes us to an out-of-the-way Australian boozer for some low-boiling violence.
By Mark Asch
In what could be his final film, Ken Loach fixes his gaze on a pub landlord in a town reckoning with a new population of Syrian refugees.
By Mark Asch
Nicolas Cage plays an otherwise unremarkable college professor who unexpectedly finds himself appearing in peoples' dreams in Kristoffer Borgli's latest satire.
By Mark Asch
Taika Waititi is way-too eager to please with this aggressively feel-good comic fictionalisation of the lovely 2014 documentary of the same name.
By Mark Asch
The new film from one of Romania's foremost cine-ironists, Radu Jude, is a glorious, poisonous, everything-in-the-pot treatise on the state of the world today.
By Mark Asch
Ladj Ly’s follow-up to his Cesar award-winning Les Misérables is a hyperbolic state-of-the-nation address that lacks the logic and fire of that first feature.
By Mark Asch
Less a swansong and more a heronsong from the Japanese maestro Hayao Miyazaki, a mystical and ambitious message of hope for the future.
By Mark Asch
More cinema of ominous discomfort from Kitty Green as she takes us to an out-of-the-way Australian boozer for some low-boiling violence.
By Mark Asch
Annie Ernaux and her son David piece together a magical home movie essay on marriage, motherhood and the whole damn thing.
By Mark Asch
In what could be his final film, Ken Loach turns his eye to UK immigration, focusing on a pub landlord in a town reckoning with a new population of Syrian refugees.
By Mark Asch
Josh O’Connor breaks out his halting Italian as a grave-robbing rascal in Alice Rohrwacher’s divine exploration of time, history and memory.
By Mark Asch
Italian veteran Marco Bellocchio’s adaptation of David Kertzer’s The Kidnapping of Edgardo Mortara is an occasionally enthralling, yet often staid and repetitive affair.
By Mark Asch
The legendary filmmaker and writer reflects on his curious horticultural drama, Master Gardener, and reveals which of his films he thinks is the funniest.
By Mark Asch
A filmmaker in crisis finds inspiration in the mountains in Michel Gondry's first film in eight years.
By Mark Asch
A donkey sets off on a long journey to reunite with his mistress in Jerzy Skolimowski's far-reaching drama.
By Mark Asch
Peter Farrelly’s follow-up to his Best Picture winner Green Book is a hokey Vietnam tall tale.
By Mark Asch
Olivia Colman channels her inner Anna Karina in director Sam Mendes’ mawkish ode to the magic of the movies.
By Mark Asch
Zac Efron goes on a mission to bring tinnies to the troops in this banter-y Vietnam War movie misfire from Peter Farrelly.
By Mark Asch
Jonathan Majors and Glen Powell star as Navy pilots in JD Dillard's superficial rendering of America’s forgotten war.
By Mark Asch
A group of activists take radical action against climate change in Daniel Goldhaber's eco-thriller.
By Mark Asch
This bittersweet rummage through the Spielberg family album sees the maestro deliver a late-career masterwork.
By Mark Asch
The Dardenne brothers return with a harrowing story of human trafficking in Belgium, centring on two young migrants.
By Mark Asch
Annie Ernaux and her son David piece together a magical home movie essay on marriage, motherhood and the whole damn thing.
By Mark Asch
Ethan Coen’s solo debut effort is a ribald and energising archive montage on the life of taboo-busting rocker, Jerry Lee Lewis.
By Mark Asch
A donkey in a travelling circus grapples with cruel fate in Jerzy Skolimowski’s strangely captivating drama.
By Mark Asch
Kirill Serebrennikov focuses on the relationship between one of Russia’s greatest composers and his adoring, but unloved, partner.
By Mark Asch
Two strangers meet on a fateful train journey from Moscow to the Arctic Circle in Juho Kuosmanen’s romantic drama.
By Mark Asch
Kirill Serebrennikov presents a fascinating, intense portrait of a comic book artist who suffers from a strange illness.
By Mark Asch
Sean Penn’s directorial follow-up to The Last Face is a blatantly self-indulgent vanity project full of tiring clichés.
By Mark Asch
Apichatpong Weerasethakul meticulously crafts a sensory journey soaked in introspection and metaphysical perplexity.
By Mark Asch
Léa Seydoux plays a TV journalist in Bruno Dumont’s satire-of-sorts about France’s relationship with its media and itself.
By Mark Asch
Tilda Swinton is extraordinary in a film by Apichatpong Weerasethakul which comprises of “pure vibes”.
By Mark Asch
Kirill Serebrennikov’s delirious latest offers a strikingly singular vision of life in post-Soviet Russia.
By Mark Asch
Sean Penn returns to Cannes five years after the fiasco of The Last Face with a somehow even more calamitous family drama.
By Mark Asch
This delicate Finnish comedy of social and political manners has all the trappings of an arthouse crowd-pleaser.
By Mark Asch
Mahamat-Saleh Haroun’s bright, hopeful film addresses the persistent issue of women’s reproductive health in present-day Chad.
By Mark Asch
Portuguese master Pedro Costa charts a Cape Verdean émigré’s journey through the outskirts of Lisbon.
By Mark Asch
Clint Eastwood continues his stellar run of films about unlikely American heroes hunted by the spotlight.
By Mark Asch
Clint Eastwood directs and stars in this outstanding American road movie about an ageing drug runner.
By Mark Asch
The inhabitants of a Turkish retirement home contemplate life’s big questions in this captivating doc from Shevaun Mizrahi.
By Mark Asch
Rejecting the physics of an ever-expanding comic book universe, Bryan Singer’s Superman reboot has passed the test of time.
By Mark Asch
Everything is connected – including Peter Adolphsen’s ‘Machine’ and Terrence Malick’s 2011 film.
By Mark Asch
Intimidating and otherworldly, the Australian actor’s impeccable physique has earned him the title of Manliest Man in Hollywood.
By Mark Asch
Robert Eggers’ film provides an evocative reminder of the anxieties, fears and early religious beliefs that shaped the New World.
By Mark Asch
A kaleidoscopic and intentionally lurid gangster rap battle movie from Japanese provocateur Sion Sono.
By Mark Asch
One of cinema’s Old Masters returns with this poetic and profound dissection of art and storytelling.
By Mark Asch
A meek and mild school teacher spirals into Aussie Hell in this riveting, repellant restoration.
By Mark Asch
One of classic cinema’s great, uncategorisable outliers returns triumphantly to the big screen.
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.
