Comedian collaborators Tim Key and Tom Basden co-write and co-star in James Griffiths’ pleasant bromance flick.
A charming arms dealer heads on the road to redemption in this pristine shot of pure pleasure from filmmaker Wes Anderson.
Amalia Ulman flexes her satirical writing chops, but her latest would have benefitted from more Chloë Sevigny and Simon Rex.
Anchored by a talented cast clearly having the time of their lives, Andrew Ahn’s new banquet is a bit of a treat.
Emilie Blichfeldt takes on medieval beauty standards in this gory reframing of the Brothers Grimm's classic take on Cinderella.
Louise Courvoisier crafts a moving tale about cheese-making and coming of age, set in the rural French region of Jura.
Alex Scharfman rallies together a cast stacked with comedic actors, but the result of this dull ‘Eat the Rich’ flick misses the mark.
Darren Thornton's remake of Mid-August Lunch sees a novelist on the brink of breaking out tasked with caring for his ailing mother and her friends.
Alain Guiraudie defies neat categorisation with his shapeshifting eighth feature about morality, crime and queer desire.
Jack Quaid delivers a charming performance as a man incapable of feeling pain in Dan Berk and Robert Olsen's ultraviolent action-comedy.
The millennium bug triggers a cyber-apocalypse in Kyle Mooney’s nostalgia-driven directorial debut.
This lightweight Chabrolian country drama from François Ozon sees an elderly retiree with a complex past trying to do right by her family.
This well-mounted ensemble comedy sees a schlubby Josh Radnor forced to deal with a visit from his eccentric parents and brother.
John Malkovich is an electro pop god with an axe to grind in this glossy music industry horror-satire by debut director Mark Anthony Green
By Anton Bitel
Karan Kandhari’s film about a misanthropic newlywed giving into her feral impulses is an unpredictable, genre-bending delight.
Nick Love and Danny Dyer are back with yet another boorish, small-minded take on the football hooligan genre.
Renée Zellweger dons her big knickers again as the frazzled heroine, this time getting her groove back after her husband's death.
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.
