By Anton Bitel
Paul Leni’s 1928 chiller, starring Conrad Veidt as a grinning carnival performer, is one of the most important films of the late silent era.
By Anton Bitel
With its camp aesthetic and winking humour, Mike Hodges’ swash-buckling space romp is undeniably a product of its time.
By Anton Bitel
The director’s 1997 film contains a sly parody of the capitalist ideals underpinning the American Dream.
By Anton Bitel
Ricky Lau’s 1985 hit Mr Vampire deftly combines knockabout comedy, martial arts, monster horror and wacky dancing.
Hausu director Nobuhiko Obayashi’s penultimate film, Hanagatami, is as surreal as it is moving.
By Anton Bitel
Sean S Cunningham’s The New Kids sees James Spader terrorise a group of upwardly-mobile youths.
Lindsay Anderson’s spiky Thatcher-era comedy is the perfect sign off to his Mick Travis trilogy.
By Anton Bitel
After Midnight confirms co-directors Jeremy Gardner and Christian Stella as among most exciting talents working in American independent horror today.
By Anton Bitel
Christian Duguay’s Screamers, starring RoboCop’s Peter Weller, was originally conceived back in 1981.
By Anton Bitel
Yedidya Gorsetman’s 2018 film Empathy, Inc explores themes of identity, alterity and technophobia.
By Anton Bitel
Masaki Kobayashi’s Oscar-winning 1964 anthology film Kwaidan is now available on Blu-ray for the first time.
By Adam Scovell
Michael Elliott’s 1968 teleplay The Year of the Sex Olympics imagines a society addicted to screens.
By Anton Bitel
Warner Bros took legal action over 1974’s Beyond the Door, but its differences from Friedkin’s film are more striking than its similarities.
By Anton Bitel
Atsushi Yamatoya’s 1967 Inflatable Sex Doll of the Wasteland subverts expectations of this softcore genre.
By Anton Bitel
The Chinese master’s 1979 Raining in the Mountain is now available on home video for the first time in the UK.
By Anton Bitel
José Ramón Larraz’s slasher swansong, Deadly Manor, features some playfully misdirection and an insane ending.
By Anton Bitel
José Ramón Larraz’s Edge of the Axe buries several over-used tropes of the genre.
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.
