In Praise Of | Little White Lies

In Praise Of

In Praise Of

How The French Connection reinvented the Hollywood cop movie

by Jarek Kupść

Gene Hackman maniacally navigates New York’s crime world in William Friedkin’s enduring procedural.
In Praise Of

Why Timothy Dalton is the best James Bond actor

by Mark Allison

In The Living Daylights and Licence to Kill, Dalton created the template for Daniel Craig’s hard-edged 21st century Bond.
In Praise Of

Why excessive swearing is essential to Martin Scorsese’s The Departed

by Susannah Goldsbrough

Foul language and filthy humour characterise the cruel, cynical world of this hardboiled Boston-set crime-drama.
In Praise Of

40 years on, Southern Comfort remains a punishing study of male violence

by Johnny Restall

Released in 1981, Walter Hill’s backwater thriller is at once a celebration and a critique of masculinity in crisis.
In Praise Of

Hedwig and the Angry Inch remains a testament to self-acceptance

by Gina Tonic

John Cameron Mitchell’s cult 2001 musical drama is a poignant reminder of the power of being yourself.
In Praise Of

20 years on, Lan Yu remains the pinnacle of Chinese queer cinema

by Weiting Liu

Though never released in mainland china Stanley Kwan’s cult 2001 melodrama fully deserves its cult status.
In Praise Of

40 years on, Body Heat remains a sweaty, seductive erotic thriller

by Steph Green

Powered by Kathleen Turner’s entrancing performance, the 1981 film ushered in a bold new era for woman on screen.
In Praise Of

Why I love Elizabeth Olsen’s performance in Martha Marcy May Marlene

by Sophie Monks Kaufman

Before she became a bona fide movie star, Olsen announced herself as an actor with fearless instincts in Sean Durkin’s directorial debut.
In Praise Of

The subversive sexual politics of Clint Eastwood’s Play Misty for Me

by Adam Scovell

Compared to other films of the counter-culture era, Eastwood’s directorial debut looks at the darker side of Free Love.
In Praise Of

How Ping Pong revolutionised British Chinese cinema

by Ian Wang

Po-Chih Leong’s 1986 feature, the first by a British Chinese director, was a landmark release. So why has it been largely forgotten?

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