By Leila Latif
Fred Baillif’s third fiction feature is a riveting and bristling examination of trauma and the need for familial intimacy.
Roger Michell’s swansong is a fittingly wholesome and heartwarming caper, an ode to Ealingesque whimsy and charm.
By Leila Latif
Joe Wright returns to his wheelhouse with a big-screen musical adaptation of Edmond Rostand’s Cyrano de Bergerac.
Channing Tatum stars and co-directs this highly pleasurable canine road movie with a few neat tricks up its sleeve.
By Rógan Graham
Easily digestible hunk of rom-com fluff with Jennifer Lopez and Owen Wilson doing the mismatched couple thing.
The Japanese master delivers his second smash hit of the year with a series of vignettes on human relationships.
Kenneth Branagh directs and stars in a second Agatha Christie adaptation, but we’d rather he hadn’t.
By Mark Asch
Kirill Serebrennikov presents a fascinating, intense portrait of a comic book artist who suffers from a strange illness.
By Ella Kemp
A gay Afghan man leaves his home for a new life in Denmark in Jonas Poher Rasmussen’s moving documentary.
Jessica Chastain transforms into the opulent yet controversial Tammy Faye Messner in Michael Showalter’s customary biopic.
Disaster artist Roland Emmerich pits a team of astronauts against the moon in his latest schlockbuster offering.
The sequel to Joanna Hogg’s autobiographical masterpiece is a stunning portrait of an artist’s profound exploration of grief.
Johnny Knoxville, Steve-O and the gang return to the big screen for lewd, crude antics with a surprisingly sweet centre.
Clint Bentley's debut feature is an authentic character study profiling the realm of professional horse racing.
A tale as old as time gets a cyberspace makeover in Mamoru Hosoda’s reimagining of Beauty and the Beast.
By Rógan Graham
Mahamat-Saleh Haroun’s powerful drama is a poignant ode to a subtly complex vision of feminine solidarity.
Femininity, pathos, generational trauma and collective memory converge in Pedro Almodóvar’s latest masterpiece.
By Mark Asch
Sean Penn’s directorial follow-up to The Last Face is a blatantly self-indulgent vanity project full of tiring clichés.
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.
