In Praise Of

Films to last a lifetime – RIP Jean-Luc Godard

By David Jenkins

In memory of one of cinema’s most formidable and pathfinding talents, who has died at the age of 91.

The romantic listlessness of Paul Thomas Anderson’s The Master

By Jeremy Arblaster

As this Thomas Pynchon-inspired drama turns 10, its portrayal of post-war malaise still has an undeniable allure.

John Carpenter’s Apocalypse Trilogy and the end of faith

By Sam Moore

As The Thing turns 40, its place within Carpenter's exploration of spiritual breakdown has never felt more prescient.

Why Meiko Kaji’s cult characters are still subversive in their strength

By Sam Moore

As Female Prisoner 701: Scorpion turns 50, Meiko Kaji's feminist action heroines are as thrilling to watch as ever.

The frenetic thrills of the Safdie Brothers’ second feature

By Guillermo De Querol

Before Good Time and Uncut Gems, the Safdies created an anxiety-inducing portrait of a deadbeat dad trying to keep it together.

A summer with Satyajit Ray

By S. Farwah Rizvi

The BFI’s current retrospective of the Indian auteur’s cinema gave me chance to reconnect with my homeland while studying abroad.

Eighty-five years on, Stella Dallas remains a style icon

By Winnie Wang

The outspoken heroine of King Vidor’s 1937 drama eschews social conventions to express herself through her clothes.

Twenty years on, Devdas is still a perfect Bollywood introduction for the uninitiated

By Soham Gadre

As well as being a landmark achievement for filmmaker Sanjay Leela Bhansali, this romantic epic brilliantly showcases the magic Indian cinema has to offer.

How Men in Black subverted blockbuster tropes to become box office gold

By Callie Petch

Twenty-five years ago Barry Sonnenfeld's workplace action-comedy broke the rules and launched an iconic franchise.

Why I love Rebecca Hall’s performance in Christine

By Caroline Madden

In her haunting depiction of Christine Chubbock, I recognised elements of my own experience with depression and isolation.

Why I love Robin Williams’ performance in The World According to Garp

By Richard Brownell

Forty years on, one of Robin Williams’ earliest film roles still ranks among his best work.

How the dynamic editing of Don’t Think sets the bar for concert films

By Callie Petch

Adam Smith creates a disorientating, immersive experience through innovative camera work and editing in The Chemical Brothers: Don't Think.

Climbing the company ladder means a lot of bootlicking in I Was Born, But…

By Blaise Radley

Ninety years on, Yasujirō Ozu’s silent comedy about familial disillusion still makes salient points about life under capitalism.

In praise of Isabel Sandoval

By Lillian Crawford

Though her work remains undistributed in the UK, her superb film and TV episodes show an immense and unique talent on the rise.

Revisiting Le Havre’s portrait of the migrant crisis 10 years on

By Bora Rex

Aki Kaurismäki’s drama remains sadly relevant as refugees and migrants face perilous journeys and human rights abuses in search of better lives.

Why I love Kathy Bates’ performance in Misery

By Lucy Vipond

In her breakthrough lead role, Bates plays a reclusive nurse who takes her fandom to horrifying extremes.

Why Citizen Ruth has never felt more prescient

By Collin Preciado

As Roe v. Wade is controversially overturned, we revisit Alexander Payne’s dark satire of the American abortion lobby.

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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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