By Sam Moore
Alan Rickman’s iconic Die Hard baddie is a faux-revolutionary motivated purely by financial gain.
From Signs to Split, The Sixth Sense to The Happening, we survey this divisive director’s surprisingly varied career.
M Night Shyamalan gets the gang back together for the bizarre finale to his “Eastrail 177 Trilogy”.
By Adam Scovell
Themes of memory and death lie at the heart of Terry Gilliam’s dystopian time travel saga.
By Harry Harris
Though similar, there are marked differences between these twin films – and the fates of their respective directors.
By Elena Lazic
Eli Roth and Bruce Willis combine forces for a frustratingly bland remake of Michael Winner’s vigilante classic.
The film’s glamorisation of vigilante justice resonated with an increasingly paranoid audience in 1974.
Twenty years on, Luc Besson’s neon-hued space opera has lost none of its off-kilter charm.
By Alex Hess
M Night Shyamalan’s understated 2000 drama is anathema to the box-office behemoths of today.
Meet Looper, by a country mile the most resourceful, vivacious and savage science fiction movie of 2012.
Sin City is not so much an adaptation as the transliteration of a comic book classic to the big screen.
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.
