Contributions from Sam Moore | Little White Lies

Contributor Sam Moore

Wedding party standing in a grand, ornate hall with arched windows and a chandelier. A bride in a long, white dress and a groom in a dark suit stand at the centre, surrounded by family and friends in formal attire.

Spectacles of suffering and fascism in cinema

by Sam Moore

Across the cin­e­ma of Pier Pao­lo Pasoli­ni, Guiller­mo del Toro and Brady Cor­bet, the evils of fas­cism come to light in hor­ri­fy­ing detail.
A group of people watching television in a living room, with a woman in a yellow shirt appearing on the screen.
Not Movies

Has WWE become another cog in the Netflix machine?

by Sam Moore

As WWE enters its Net­flix Era, there’s an awful lot of ​“brand syn­er­gy” – and it’s becom­ing a distraction.
Laptop displaying text "How Many Cooks" on dark background with plants in foreground.
Not Movies

Because The Internet: the cursed, perverse realities of Adult Swim infomercials

by Sam Moore

On the late night pro­gram­ming block of an Amer­i­can tele­vi­sion chan­nel a series of bleak par­o­dy shorts riff on the rela­tion­ship between the inter­net and spectatorship.
Group of soldiers in military gear and helmets, many faces visible, standing closely together.
In Praise Of

How Saving Private Ryan changed the war movie

by Sam Moore

Twen­ty-five years on, Steven Spiel­berg’s World War Two epic com­plete­ly rev­o­lu­tionised the way Hol­ly­wood thought about depict­ing con­flict on screen.
Four scantily-clad women posing suggestively alongside a man wearing sunglasses and casual attire.
In Praise Of

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.
Four people in cold weather gear gathered round a glowing fire in the dark.
In Praise Of

John Carpenter’s Apocalypse Trilogy and the end of faith

by Sam Moore

As The Thing turns 40, its place with­in Car­pen­ter’s explo­ration of spir­i­tu­al break­down has nev­er felt more prescient.
Young woman with dark hair styled in an elaborate updo, wearing a blue-green velvet jacket, against a blurred background of trees.
In Praise Of

Why Meiko Kaji’s cult characters are still subversive in their strength

by Sam Moore

As Female Pris­on­er 701: Scor­pi­on turns 50, Meiko Kaji’s fem­i­nist action hero­ines are as thrilling to watch as ever.
Two men sitting on a bench near a Christmas tree and decorations.
Interviews

Braxton Pope: ‘You’re never caught off guard with Paul’

by Sam Moore

The pro­duc­er of The Canyons and The Card Counter reflects on his expe­ri­ence work­ing with one of Hollywood’s most out­spo­ken auteurs.
A woman in a white blouse and dark skirt sits reading a book in a library setting with bookshelves in the background.
In Praise Of

The radically non-binary nature of Sally Potter’s Orlando

by Sam Moore

Thir­ty years after it was released, the British director’s take on Vir­ginia Woolf’s nov­el is a pow­er­ful study of self-identity.
A person in a pink and white patterned shirt embraces another person in a dark shirt, with other people visible in the background.
Not Movies

It’s a Sin shows the tragic consequences of misinformation

by Sam Moore

Rus­sell T Davies’ land­mark AIDS dra­ma reveals how con­fu­sion and fear gripped gay men in 1980s.
Two men in dark clothes, one with long hair and a beard, leaning towards each other over a table.
In Praise Of

How Derek Jarman’s films queer the narrative of history

by Sam Moore

In 1976’s Sebas­tiane and 1986’s Car­avag­gio, the direc­tor refus­es to rel­e­gate homo­sex­u­al­i­ty to the subtext.
A black and white image of a woman in an ornate dress and a man in a suit, posing together in a dramatic theatrical setting.
In Praise Of

Why Sunset Boulevard remains a glorious Gothic horror

by Sam Moore

Bil­ly Wilder’s clas­sic Hol­ly­wood satire from 1950 is also a great post-mod­ern ghost story.