In Praise Of

How Ring predicted the anxieties of the 21st century

By J. Simpson

25 years later, Hideo Nakata's timeless J-horror still shocks – partly owing to its prescience.

The Story of Adèle E

By David Jenkins

In praise of French actor Adèle Exarchopoulos who brings her sultry sensibility to a range of roles, most recently Léa Mysius’ The Five Devils.

The unlikely prescience of Spring Breakers

By Sam Moore

A decade since its release, Harmony Korine's hedonistic vision of a fraught Floridian vacation feels like it foreshadowed plenty about contemporary pop culture.

Godzilla vs Megalon: in defence of a much-maligned creature feature

By Christopher Stewardson

As Jun Fukuda's kid-friendly entry into the Godzilla pantheon turns 50, it's time to revisit its message of peace and unity.

Why I Love Death Bed: The Bed That Eats

By Mark Hanson

George Barry's 1977 independent horror, about a homicidal piece of furniture with a voracious appetite, is a delightfully imaginative and wholly original relic worth seeking out.

The Big Lebowski at 25: How embracing ‘Dudeism’ can lead to a happier life

By Simon Bland

Oliver Benjamin, the founder of the world’s “slowest growing” religion, reflects on how The Coen Brothers' classic crime caper inspired him to start a global movement.

Why I love Song Kang-ho’s performance in The Host

By Rory Doherty

In Bong Joon-ho's thrilling monster movie, the South Korean actor is tremendous as a hapless father attempting to save his young daughter.

Why I love Carl Franklin’s One False Move

By Alexander Boucher

Franklin's 1992 thriller about a small-town cop facing off against a murderous trio cuts to the heart of police corruption and racial otherness.

Stoker at 10: Park Chan-wook’s Hitchcockian fairytale

By Kevin Bui

This dark coming-of-age thriller is Park's own scintillating twist on The Master of Suspense's Shadow of a Doubt.

Why I love Zoë Lund’s performance in Ms 45

By Sarah Cleary

Her performance as the mute garment worker Thama who takes on the scumbags of New York City is the heart of Abel Ferrara's rape-revenge thriller.

Jus’ Funnin: In praise of the Channing Tatum smirk

By David Jenkins

The man who is Magic Mike possesses one of the most brilliant acting power moves on the block.

Boys won’t be boys: How Magic Mike XXL denounces toxic masculinity

By Connor Lightbody

Gregory Jacobs' second instalment in the Magic Mike franchise is a lesson in self-acceptance and following your dreams.

In praise of Stories We Tell

By Cici Peng

Sarah Polley's innovative, heartfelt documentary about her mother is a thoughtful exercise in the mechanics of storytelling.

Remembering Yoshida Kiju: a titan of Japanese cinema

By Marcus Iwama

The filmmaker behind Blood Is Dry and Bitter End of a Sweet Night, who passed away at the end of 2022, was a founding member of the Japanese New Wave.

Why I love Nina Hoss’ performance in Phoenix

By Jihane Bousfiha

Starring as a concentration camp survivor attempting to rebuild her life in spite of considerable challenges, Hoss delivers a captivating and entirely convincing performance.

How Bleeder was a landmark for Nicolas Winding Refn’s distinctive style

By Jonah Jeng

As Copenhagen Cowboy hits Netflix, it's a good time to revisit NWR's underrated sophomore feature.

The Old Rose scenes in Titanic are important, actually

By Yasmin Omar

As James Cameron’s generation-defining blockbuster turns 25, it’s high time to reconsider the narrative value of the film’s often-maligned framing device.

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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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