Ken Loach

The Old Oak review – trades largely on didacticism and sentimentality

By Mark Asch

In what could be his final film, Ken Loach fixes his gaze on a pub landlord in a town reckoning with a new population of Syrian refugees.


The Old Oak – first-look review

By Mark Asch

In what could be his final film, Ken Loach turns his eye to UK immigration, focusing on a pub landlord in a town reckoning with a new population of Syrian refugees.

Croisette wishes: 20 films we’d like to see at Cannes in 2023

By Charles Bramesco

Martin Scorsese, Wes Anderson, and Pedro Almodóvar number among the heavy hitters expected on the red carpet.

Sorry We Missed You

By Adam Woodward

Ken Loach doubles down on his kitchen-sink shtick in this heavy-handed indictment of Britain’s gig economy.


Who still needs to weigh in on the Marvel vs Auteurs debate?

By Charles Bramesco

The discourse will not be satisfied until Terrence Malick descends from his mountaintop stronghold.

Sorry We Missed You – first look review

By Adam Woodward

Ken Loach and Paul Laverty return to Cannes with another bitter requiem for the working class.

Xavier Dolan, Terrence Malick headline 72nd Cannes Film Festival

By Adam Woodward

This year’s Official Selection features new works from Jim Jarmusch, Bong Joon-ho and Jessica Hausner.

25 films we’d like to see at the 2019 Cannes Film Festival

By Adam Woodward

Could these be the directors vying for this year’s Palme d’Or?

A new film looks at gentrification from a fresh perspective

By Eve Watling

A Moving Image asks if art can make a difference in the face of social change.

50 years on, Ken Loach’s Cathy Come Home is as powerful as ever

By Stephen Puddicombe

This 1966 TV play on a young woman’s descent into homelessness has lost none of its impact.

Is Kes still Ken Loach’s best film?

By David Jenkins

A sparkling new Blu-ray edition helps remind of this melancholy British classic from 1969.

Ken Loach is right – British film and TV has become too cosy and conservative

By Caspar Salmon

The director was correct in chastising the “fake nostalgia” of period dramas.

I, Daniel Blake

By David Jenkins

Ken Loach’s latest polemic has a vital message that’s diluted by some heavy-handed direction.


How Ken Loach captured the emotional fallout of the Spanish Civil War

By James Clarke

Land and Freedom shows the personal and political sides of this 80-year-old conflict.

Poor Cow (1967)

By David Jenkins

The late Carol White is exceptional as a working class single mother in Ken Loach’s restored kitchen-sink drama.

review LWLies Recommends

Watch the stirring new trailer for Ken Loach’s I, Daniel Blake

By David Jenkins

The veteran director returns with a stark look at contemporary Britain.

Versus: The Life and Films of Ken Loach

By David Jenkins

One of Britain’s most lauded and long-serving leftwing voices gets the whistlestop biog treatment.


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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.