Tensions flair between a group of angry protesters and the police in Romain Gavras' stylish but frustrating action-drama.
Taylor Russell and Timothée Chalamet play a pair of young cannibals on a trans-America road trip in Luca Guadagnino's sweet, squelchy horror romance.
Frederick Wiseman reflects on the relationship between Leo Tolstoy and his wife Sophia Tolstaya in his first foray into fiction filmmaking.
Georgia Oakley delivers an assured debut with her poignant portrait of a lesbian teacher living in Thatcher's Britain.
Alejandro G Iñárritu grapples with creative fulfilment and the Mexican diaspora in his sprawling, semi-autobiographical surrealist drama.
Cate Blanchett is captivating as formidable, world famous classical composer in Todd Fields’ frustrating study of the cult of genius.
Adam Driver and Greta Gerwig reunite as a couple grappling with their fear of death in Noah Baumbach’s adaptation of Don DeLillo’s novel.
The Lido will be perfectly happy to host the buzzy Netflix films banned from Cannes.
The Italian filmmaker on his slow-cooked wonder, Il Buco, and the artistic joys of discovering something new.
Audrey Diwan’s significant and unflinching adaptation of Annie Erneux’s memoir of a teen abortion is one of the year’s best films.
Appealing turns from Ben Affleck and Jodie Comer can’t save Ridley Scott’s bloated historical epic.
By Steph Green
Potsy Ponciroli’s defiantly old school oater is a modest treat with a barnstorming turn from Tim Blake Nelson.
Ana Lily Amirpour returns with a blissed-out, techno-powered riff on the time-honoured superhero movie.
Audrey Divan’s lacerating and necessary drama follows a young student seeking a clandestine abortion in 1960s France.
Xavier Giannoli’s pristine adaptation of Balzac’s ‘Illusions Perdues’ is a raunchy romp through post-Revolution France.
Mexican cine-sadist Michel Franco returns with another cravenly bleak drama about life as a pageant of eternal suffering.
Edgar Wright’s lively London-set giallo, starring Anya Taylor-Joy and Thomasin McKenzie, fails to deliver on its fascinating premise.
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.
