By Mark Asch
Jonathan Majors and Glen Powell star as Navy pilots in JD Dillard's superficial rendering of America’s forgotten war.
By Ryan Coleman
Sophie Kargman attempts to expand her 2020 short film into a feature-length picture, with mixed results.
By Mark Asch
A group of activists take radical action against climate change in Daniel Goldhaber's eco-thriller.
This compelling, queer-edged melodrama starring Harry Styles and Emma Corrin charts the fall-out of impossible passions.
Jennifer Lawrence plays an army veteran trying to adapt to civilian life in Lila Neugebauer's understated feature debut.
By Mark Asch
This bittersweet rummage through the Spielberg family album sees the maestro deliver a late-career masterwork.
Jafar Panahi plays himself in this lovingly-crafted autofiction that centers on two pairs of lovers.
Tessa Thompson plays a helpline volunteer on her final shift in Steve Buscemi's sensitive drama.
By Leila Latif
Andrew Dominik’s adaptation of Joyce Carol Oates’ behemoth Marilyn Monroe novel is a surreal, anarchic take on celebrity and womanhood.
Vahid Jalilvand crafts an intimate puzzle box of a film, regarding the lives of two strangers that intersect in a fascinating and tragic manner.
Benedetta Argenteri's documentary about Tooba Gondal fails to get to the systematic causes of radicalisation, instead opting for shoddy personal blame.
Despite boasting some big names, Florian Zeller's follow-up to The Father is a missed opportunity to tackle the weighty subject of teen depression.
This deeply nuanced treatise on the tragedy of motherhood marks the extraordinary feature debut of Alice Diop.
By Leila Latif
There should be a warrant out for someone's arrest after this dire western from Walter Hill.
Tilda Swinton plays both mother and daughter in Joanna Hogg's eerie and effective exploration of parent-child relationships.
By Xuanlin Tham
Koji Fukuda's ninth feature fails to meet the mark when it comes to exploring the knotty topic of familial grief.
Florence Pugh can't save this underwhelming retro sci-fi from its overreliance on genre cliches.
Martin McDonagh reunites with Colin Farrell and Brendan Gleeson for a biting but charming examination of a disintegrating friendship against the backdrop of the Irish Civil War.
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.
