Alex Garland's vision of a future America ravaged by conflict is impressively mounted but lacks political bite.
Dev Patel emerges as a compelling action star in his directorial debut Monkey Man, a scrappy revenge tale set in a fictionalised Indian city where corruption is rife.
A surprisingly entertaining showdown sequel which opts for no funny stuff and doing the simple things well.
Doug Liman directs Jake Gyllenhaal in this mirthless unnecessary reimagining of the 1989 Swayze classic.
Dakota Johnson delivers a remarkably disinterested performance as a clairvoyant superhero in this shoddy Spider-Man spin-off.
Bryce Dallas Howard and Sam Rockwell attempt to add some charm to an utterly charmless script in Matthew Vaughn's derivative spy comedy.
A ripe set-up in which a family of ducks migrate in the wrong direction is squandered in this haphazard and empty family animation.
David Ayer's latest action thriller is an underwhelming story about a retired secret agent who swears revenge against a tech bro scam company.
Aggressively unmemorable return to a garish CGI Atlantis in which Jason Momoa’s sub-aqua regent wards off another potential apocalypse.
Our atomic friend returns for a runout on the battered landscape of post-1945 Tokyo in Takashi Yamazaki’s stripped back action epic.
Rachel Zegler and Tom Blyth head up this serviceable franchise prequel that divebombs into ignominy and obscurity during its protracted final act.
Michael Fassbender plays a contract killer suffering some professional setbacks in David Fincher's lean, mean new thriller.
By Leila Latif
Gareth Edwards serves up a visually ambitious story of war between humans and A.I. beings in this heartfelt sci-fi spectacle.
Surreally awful action spectacle which represents nothing more than the quickest route to a payday for everyone involved in its sorry creation.
DC plunders the musty vaults for material and comes up with a poppy Latino riff on the boilerplate superhero yarn.
Tom Cruise and co gear up for another high-stakes mission, but it’s diminishing returns amid all the ambitious action.
It’s an improvement on the execrable Crystal Skull, but James Mangold’s exhumation of the Spielberg adventure serial is both tame and unnecessary.
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.
