Jon Favreau’s genre mash-up is yet another underwhelming summer brouhaha that fails to up the ante.
This unlikely reboot is a relatively modest B-movie bolstered by A-grade technical wizardry.
Joe Cornish’s dazzling first feature is a brilliant first film by anybody’s standards.
Duncan Jones has hit the ground running, but there’s no need for Nolan to watch his back just yet.
By Tom Seymour
The screen may glow in Joseph Kosinski’s sci-fi spectacle, but the soul lies cold.
It may not be art and it certainly isn’t truth. But Inception fulfils one of the basic tenets of cinema: it takes the breath away.
Neill Blomkamp’s film offers thought provoking thrills that have the audience rooting its CGI characters.
Moon is a thoughtful but imperfect sci-fi alternative to the brain-dead blockbusters that dominate the summer.
A frenzy of sound and fury that takes Michael Bay’s vision to its final, eye-boggling extreme.
A big-screen version of Alan Moore’s seminal graphic novel has finally arrived, but was it worth the wait?
An emotional powerhouse that sucks you in and rips you apart layer by layer. An unparalleled experience.
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.
