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
A pack of hired goons get more than they bargained for in this inventive and nasty evil kid romp.
What appears as a fun robotic slasher lark turns out to be a deathly dull rip-off of various trauma-based horror yarns which fails to deliver in either the serious or silly stakes.
Recent entries to the subgenre of found footage horror attest to its appeal to queer filmmakers and audiences alike.
By Anton Bitel
Viy, Konstantin Ershov and Georgiy Kropachyov’s 1967 Gothic chiller, boasts spectacular visuals and effects.
By Adam Scovell
The 1931 film put the Count firmly on the cultural map and moved the genre on from its silent origins.
By Anton Bitel
José Ramón Larraz’s Edge of the Axe buries several over-used tropes of the genre.
This slow-burn folk horror set in old, weird England marks the auspicious return of talented British director Thomas Clay.
By Anton Bitel
The Italian horror maestro’s 1971 film A Bay of Blood remains one of his most shocking works.
By Anton Bitel
A new Blu-ray of this 1984 cheapjack sequel shows there's more value to it than meets the eye.
By Anton Bitel
Tilman Singer’s intense psychodrama was among the highlights of the inaugural genre showcase.
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.
