Amy Adams is on great form in Marielle Heller's adaptation of Rachel Yoder's novel about a new mother who is alarmed discover she is turning into a dog.
By Mark Asch
Jason Reitman pans back to 1975 and Lorne Michaels' ambitious plans for a live broadcast sketch show in his fanfiction retelling of SNL's inception.
By Mark Asch
Ron Howard tries his hand at the camp historical caper in this ironically-titled and decidedly lightweight 1930s-set runaround with Jude Law and Vanessa Kirby.
By Mark Asch
Pamela Anderson excels as an over-the-hill Vegas showgirl seeing out her notice period in this low-key, vibey backstage drama from Gia Coppola.
By Mark Asch
Reuniting with Marianne Jean-Baptiste, Mike Leigh makes a welcome return to contemporary filmmaking with a searing portrait of a woman on the brink.
By Mark Asch
John Crowley delivers a millennial cancer weepie with two game leads in Florence Pugh and Andrew Garfield.
By Mark Asch
Joshua Oppenheimer returns with an ambitious, post-apocalyptic musical whose thematic flights of fancy are always just a little too strident.
A deaf-mute young man swears revenge on the group that murdered his family in Moritz Mohr's bloodthirsty but tedious directorial debut.
By Mark Asch
Nicolas Cage plays an otherwise unremarkable college professor who unexpectedly finds himself appearing in peoples' dreams in Kristoffer Borgli's latest satire.
There’s a whole lot of Chinatown in Chris Pine’s directorial debut Poolman, an Angeleno neo-noir with a script that gives Robert Towne more than fair grounds to sue for damages.
By Mark Asch
Taika Waititi is way-too eager to please with this aggressively feel-good comic fictionalisation of the lovely 2014 documentary of the same name.
Anna Kendrick’s directorial debut, about a abused upstart actress and a serial killer in her midst, says all the right things, but too loud and too often.
By Mark Asch
The new film from one of Romania's foremost cine-ironists, Radu Jude, is a glorious, poisonous, everything-in-the-pot treatise on the state of the world today.
By Mark Asch
Ladj Ly’s follow-up to his Cesar award-winning Les Misérables is a hyperbolic state-of-the-nation address that lacks the logic and fire of that first feature.
By Mark Asch
Less a swansong and more a heronsong from the Japanese maestro Hayao Miyazaki, a mystical and ambitious message of hope for the future.
By Mark Asch
More cinema of ominous discomfort from Kitty Green as she takes us to an out-of-the-way Australian boozer for some low-boiling violence.
Amidst Weird Al and werewolves, there was another boogeyman at TIFF this year: copyright law.
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.
