Articles

Monte Hellman and the birth of the acid western

By Taryn McCabe

Fifty years ago, The Shooting and Ride in the Whirlwind kicked off the ultimate counter-cultural genre.

Why a film about evil green goo is one of John Carpenter’s best

By Tom Watchorn

The director’s Alice Cooper-starring apocalyptic horror is among the most haunting in his entire filmography.

Brutal honesty and bruised egos in HBO’s Divorce

By Roxanne Sancto

Sharon Horgan’s brave, brilliant new show offers an authentic warts and all look at a failed marriage.

U-S-A 4EVA – An inaugural address to the Spring Break nation

By Adam Lee Davies

How might President Barack Obama’s famous speech have looked had it been co-written by a certain James Franco?

A Cure for Wellness gets a creepy, stylish first trailer

By Adam Woodward

Take a first look at Gore Verbinski’s upcoming psychological thriller.

Black Mirror ‘Nosedive’ review – A dark spin on a modern-day Pleasantville

By Roxanne Sancto

TV’s most thought-provoking social satire is back with a softer vision of a bleak future.

Ken Loach is right – British film and TV has become too cosy and conservative

By Caspar Salmon

The director was correct in chastising the “fake nostalgia” of period dramas.

Why Shock Treatment is an “equal” to The Rocky Horror Picture Show

By Aimee Knight

Was creator Richard O’Brien on the money when describing his other box office flop?

How Train to Busan channels the social panic of Snowpiercer

By Katherine McLaughlin

The end of the world has a familiar theme in these train-based South Korean allegories.

Watch a sneak peek of Guardians of the Galaxy Vol. 2

By Little White Lies

The fun quotient appears to remain high in James Gunn's forthcoming comic book sequel.

Supergirl gets something Zack Snyder doesn’t – Clark Kent is the real Superman

By Dominic Preston

Kal-El’s mild-mannered alter-ego is key to understanding the character.

The New Fear – How horror cinema uncaged America’s internal monster

By Justine Smith

Justine Smith examines how movies like The House of the Devil and Lords of Salem use nostalgia to expose a fractured national identity.

Why Doctor Strange is a vital step for gender representation in Hollywood

By James Luxford

Tilda Swinton’s Ancient One looks to be Marvel’s most progressive character yet.

In praise of Persona – Ingmar Bergman’s minimalist masterpiece

By Stephen Puddicombe

Fifty years on, this low-key drama stands as a glorious shrine to analogue film.

Why do we watch horror movies?

By Colin Biggs

For many of us it’s a case of escapism, but for others horror cinema can be at once scary and soothing.

Brian Gleeson talks Tiger Raid, Logan Lucky and the new Darren Aronofsky

By Lauren Thompson

The Irish star opens up about his most recent and upcoming projects.

Why The Prestige is the greatest trick Christopher Nolan ever pulled

By Daniel Seddon

Never has on-screen magic been so compelling as in the director’s now 10-year-old passion project.

Blue Collar Blues – Southern identity and disillusionment in the cinema of Jeff Nichols

By Glenn Heath Jr

Each of the Arkansas director’s films addresses pressing social concerns affecting working-class white voters.

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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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