Little White Lies' Scores

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For 1,079 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Asteroid City
Lowest review score: 20 Morbius
Score distribution:
  1. Positive: 644 out of 1079
  2. Mixed: 377 out of 1079
  3. Negative: 58 out of 1079
1079 movie reviews
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  1. Operation Mincemeat
    It’s a model of old school screen storytelling, where the robust individual elements coalesce into the exact sum of their parts and not a single ounce out either way.
  2. Cairo Conspiracy
    Western media has trained us to brace for the worst in works engaging with the fanatical corners of Islam, and so the ground-level sobriety in Saleh’s treatment lands as a blessing all its own.
  3. Brian and Charles
    Rather like its robotic protagonist, Brian and Charles is bolted together from misshapen parts that don’t constitute an altogether successful whole. But, anchored by a strong but understated performance from Earl, it’s awkward but ultimately endearing.
  4. Beau Is Afraid
    It’s not an entirely unpleasant journey, but the film does have a jarring, unfinished feel to it, and while the detail-oriented might find it novel to unpack its myriad cinematic homages, and Aster’s ambitious execution is worthy of celebration, ultimately it’s an uneven ride, particularly given the incredible talent involved.
  5. Dìdi
    There’s a breezy panache to Wang’s direction, and he’s very good at capturing the comic skulduggery of, say, early instant messaging apps. It’s a shame, then, that it doesn’t have an original bone in its gangly, hunched frame.
    • 68 Metascore
    • 60 Critic Score
    Kensuke's Kingdom
    Remaining loyal to the source material, Boyle’s Kensuke’s Kingdom greets fans of the novel with a safe cinematic counterpart, using an animated format to re-explore Morpurgo’s environmental literature, remaining within the boundaries of the original narrative, arriving at set expectations and nothing more.
    • 59 Metascore
    • 60 Critic Score
    Carmen
    Millepied’s foray into directing does well to shine the spotlight on Barrera and Mescal’s chemistry, as well as demonstrating how you can tell a story through movement alone.
  8. The Unbearable Weight of Massive Talent
    It’s an easy watch – even a mostly enjoyable one, thanks to the great time Cage and Pascal are clearly having – but the dialogue stumbles into cheesy territory more often than not, and overall it feels like a missed opportunity to make a bolder statement about the ruthlessness of the Hollywood machine, or indeed Cage’s enduring celebrity.
  9. Red White & Royal Blue
    There is something strangely comforting about Red, White & Royal Blue, as imperfect as it is. It’s a romcom for the streaming era but it has a markedly different vibe to it because it’s fronted by two men.
  10. Mission: Impossible – Dead Reckoning
    If it’s pure action you’re after, there’s plenty to set your heart racing here. Cruise and his long-time directing partner Christopher McQuarrie have once again engineered some truly staggering set-pieces
  11. Playground
    Wandel displays her clear skill as a director of actors in this exercise, but there is the sense that this could have been a painfully visceral short film instead of elongated into a feature where it begins to feel overdone.
  12. The Booksellers
    “The hunt” may be the driving force of the booksellers, but the film shows rare bookselling evolving into a form of curatorship – and that being the key of its evolution, survival and accessibility.
  13. The Extraordinary Miss Flower
    It’s a creative and admirably earnest endeavour, but one that will most certainly live or die on your tolerance for Torrini’s winsome warbling.
    • 69 Metascore
    • 60 Critic Score
    Charli XCX: Alone Together
    Alone Together invites us into this community and gives fans some insight into Charli’s psychology, although perhaps the most evocative work chronicling this period in the artist’s career is the album itself.
    • 60 Metascore
    • 60 Critic Score
    Three Thousand Years of Longing
    There will be many people for whom it is love at first sight, and people in whom it provokes a wild allergic reaction.
  16. Foe
    It’s engrossing and purposefully strange, and the images of this climate-change-ravaged world of dried lakes and barren grasslands are bewitching and terrifyingly plausible. But when the inevitable twist comes, it makes about as much sense as using a fundraising model Bob Geldof threw together in the 80s to stave off the 4th horseman of the apocalypse.
  17. Trolls World Tour
    Although World Tour hits some of the right notes, the familiar abstract quirkiness occasionally makes it feel like a cover version of the first film. And, crucially, there’s no song even remotely close to Timberlake’s soundtrack hit ‘Can’t Stop the Feeling’.
  18. Abigail
    It is funny, grotesque, assuredly savvy and very bloody — and one might discern, in its preoccupation with errant parents struggling to get closer to their estranged children, a Message that could be called universal.
  19. Dreamers
    Dreamers is slight but effective, and perhaps doesn’t quite come back from a twist that occurs about two thirds of the way in when Isio’s situation suddenly changes.
  20. Godzilla x Kong: The New Empire
    Where this film excels is in the basics – it doesn’t take any risks and just choses to do the simple things well.
  21. Last Flight Home
    It’s a highly uncomfortable watch – it documents the countdown to death in a determined yet uneasy way.
  22. The President's Cake
    Filtering the tale through Lamia’s childlike whimsy allows the colourful, polished cinematography to sing.
  23. The Swimmers
    One issue with here is there’s so much plot, alongside a persistent desire to frame and underscore every one of this journey’s universal resonances, that it’s hard not to feel bogged down in ideas and details.
  24. The Legend of Molly Johnson
    Occasionally, the film does lack ambiguity, and there are a number of characters who, just through the casting, make-up and dress, come across as one-dimensional extremes of “goodies” and “baddies”. Yet Molly herself, and the seemingly endless string of physical and psychological trials she endures . . . makes for a satisfying emotional core.
  25. There Is No Evil
    Despite an excessive 150-minute runtime, a fair share of abrupt tonal shifts and a somewhat heavy-handed execution of metaphors threatening to rob the anthology of power and cohesion, the dramatically consistent depictions of contempt, grief and rage bring an adequate sense of uniformity.
  26. H Is for Hawk
    If the film occasionally falters with its relative lack of incident across nearly two hours, Foy’s performance – especially in the transfixing training scenes captured in long, unbroken takes – tells several stories on its own.
  27. Squaring the Circle (The Story of Hipgnosis)
    It’s a fun little diversion that’s more interested in the salacious gossip and anecdotes than it is offering a more broad inquiry into how these artworks more generally enhance the music they’re being used to sell.
  28. Medusa
    Its strengths and richness lie more in boasting a potent mix of universality in its rebellion against entrapment within societal ideals of self-worth, as well as cultural specificity and pertinence apropos the impact that white evangelists have over the political landscape in modern-day Brazil.
  29. Four Daughters
    By gambling with the flimsy dice of morality, the director crafts a film that successfully bypasses the traps of the gratuitous to find its way towards an uncomfortable but ultimately rewarding catharsis.
  30. Master Gardener
    The beauty in Schrader’s work has always been in the relationship between penance and absolution, which feels noticeably absent here. It’s a shame because the trio of Edgerton, Swindell, and Weaver deliver strong performances, and Devonte Hynes’ romantic score with a slight edge of sombreness is nicely atmospheric, but the film’s third act feels too neat and unconvincing, particularly given the sharpness of the conclusion in Schrader’s last two films.
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