In Praise Of

Machismo and Mojitos – The misunderstood genius of Miami Vice

By Tom Augustine

Michael Mann’s maligned 2006 remake is quite unlike any Hollywood blockbuster before or since.

El vino did flow – How The Office achieved sitcom perfection

By Darren Richman

Twenty years on, Ricky Gervais and Stephen Merchant’s landmark show reminds us that a good idea is a good idea forever.

Two-Lane Blacktop at 50 – Adrift on an asphalt ocean

By Johnny Restall

Monte Hellman’s cult road movie remains the perfect encapsulation of ’60s ennui and life on America’s margins.

They Might Be Giants remains a playful take on the Sherlock Holmes mythos

By Gem Wheeler

George C Scott and Joanne Woodward are a perfect match in this cunning pastiche of the Great Detective.

In praise of Krzysztof Kieslowski’s sugar cube

By Matthew Walker

How a five-second shot from 1994’s Three Colours: Blue captures the protagonist’s sense of grief and loss.

How Legally Blonde became an unlikely feminist classic

By Lorna Codrai

In defying the dumb blonde trope, Reese Witherspoon gave us a new kind of female protagonist to root for.

Pulp, Police and Politics: The hard and fast world of Poliziotteschi

By Adam Scovell

Throughout the 1970s an exciting subgenre dominated Italian cinema, combined action and crime to dizzying effect.

In praise of Beautiful Thing, a quintessentially British coming out movie

By Emily Maskell

Hettie Macdonald’s 1996 film contains a beautiful message of queer acceptance and togetherness.

Why I love Jane Russell’s performance in Gentlemen Prefer Blondes

By Carmen Paddock

Her sharp-tongued turn in Howard Hawks’ 1953 comedy is the perfect foil for Marilyn Monroe’s bimbo act.

In praise of Old Boyfriends, a long overlooked portrait of female identity

By Caitlin Quinlan

Joan Tewkesbury’s sole directorial effort stars Talia Shire as a woman on a journey to rediscover herself.

In praise of Ghost World’s Bollywood-inspired opening credits

By Saffron Maeve

For a film that actively disengages from popular American culture, the Indian dance sequence is a perfect fit.

Fat Girl remains a radical reflection on female sexuality and power

By Rachel Pronger

In her provocative 2001 film, Catherine Breillat holds a mirror to society before smashing it to pieces.

How Ace in the Hole foreshadowed the post-truth era

By Thomas Hobbs

Billy Wilder’s 1951 noir has obvious parallels with our current age of fake news and alternative facts.

The enduring legacy of Ousmane Sembène

By Leila Latif

A new restoration of his long out-of-print 1968 film Mandabi offers cause to celebrate the late Senegalese maverick.

In praise of Romy Schneider’s backless dresses in The Swimming Pool

By Rafaela Bassili

The simmering sexual tension in Jacques Deray’s 1969 film is perfectly encapsulated by the actor’s striking attire.

In praise of Masked and Anonymous

By David Jenkins

Bob Dylan’s famously misshapen and maligned rock satire from 2002 is deserving of a re-evaluation.

Why I love Maggie Cheung’s performance in Irma Vep

By Sabrina Cooper

Her role blurs the line between real life and fiction in Olivier Assayas’ love letter to the actress and filmmaking.

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About Little White Lies

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.

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