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 2.9 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. An Easy Girl
    An Easy Girl reads not as the male sexual frustration of the Nouvelle Vague, but as a celebration of women’s sexual agency.
  2. Oasis Knebworth 1996
    One might question the need for yet another Oasis doc, but in this case the end the effort is justified, especially if you came of age to these very tunes.
  3. Something in the Dirt
    All the mad metaphysics come rooted in character.
  4. Kneecap
    The humour is merciless.
  5. Decision to Leave
    While Decision to Leave might lack the grandiose scale of Park’s most-lauded work, its intimacy is no less apparent.
  6. The End of Evangelion (1997)
    Designed to replace the controversial final two episodes of Neon Genesis Evangelion, The End of Evangelion expands the series finale’s contemplation of emotional crutches and human connection to an apocalyptic scale.
  7. Some Kind of Heaven
    Some Kind of Heaven gently prods at the incompatibility of two cherished American narcotics: freedom and comfort. Though the latter can be purchased, it comes at the cost of one’s individuality.
  8. Priscilla
    The real beauty of Priscilla is its delicate portrayal of the all-consuming fire and flood of first love, and what happens when you grow up, and begin to realise the fairytale doesn’t always have a happy ending.
  9. Relic
    Relic is an exercise in control and denial.
  10. Varda by Agnès
    A memoir writ in moving image, the film returns to her favourite motifs, such as family, feminism and feeling (in the corporeal sense), to unite Varda’s bountiful output across myriad artforms.
  11. Vitalina Varela
    Rich, mysterious, rigorous and generous.
  12. Deep Water
    Most remarkable about Deep Water is the fact that beyond being a sexy and gruesome thriller, it is also an absolute riot.
  13. Jackie
    The result is a gorgeous, layered portrait of a woman determined to put public image ahead of private feelings.
  14. Saint Omer
    With Saint Omer, Diop not only refreshes and expands upon the tired conventions of the courtroom drama, but she really drills down into the fundamental gaps in our understanding of human nature and the tantalising but illusive ‘why?’ of it all.
    • 75 Metascore
    • 90 Critic Score
    Titane
    Titane is a genuinely weird, sweet thing, even in a time where those descriptors get thrown around far too much. There has not been a more surprising motion picture in years.
  16. Fallen Leaves
    It’s a wonderful film with not an ounce of fat on the bone, and Kaurismäki still manages to thread the needle between a style of ironic detachment and emotions that are big, bold and instantly affecting.
    • 73 Metascore
    • 90 Critic Score
    What's Up, Doc?
    The particular brand of slapstick comedy and barbed romance in What’s Up, Doc? is an homage to a bygone era of Hollywood cinema that in 1972 was considered outdated. But Bogdanovich embraced it without irony.
  18. Oppenheimer
    It’s not a faultless film, but it’s one that sits within the higher echelons of the oft-tawdry biopic form, and also reveals hidden depths to the Nolan project and, excitingly, suggests that we should brace ourselves for anything the next time around.
  19. The Mule
    The Mule is a beautiful, troubling film. It is a pearl formed around a grit of unease in the oyster of our nostalgia.
  20. Manchester by the Sea
    There is too much going on in Manchester by the Sea and still it is among the best films of this or any year. It is too funny, too tragic, and too full of nods to all manner of movie genres.
  21. Drive My Car
    Drive My Car is endlessly fascinating and rich, the type of film which you could spend hours analysing and come no closer to feeling as if you’ve landed on its true intent.
  22. The Power of the Dog
    In this, her first film centring male psychology after a career of female character studies, she makes observations about masculinity and power that defy classification. She has blown these subjects wide open and we can but stand still and try to catch the fragments as they rain down.
  23. I'm Still Here
    I’m Still Here triumphs in pairing Salles’s intrinsic understanding of the emotional potential of realism with two brilliant performers in Mello and Torres.
  24. The BFG
    The BFG’s greatest strength is its simplicity. This is a film built for children that delights with fantastical details while gently pushing a heartfelt message about the power of dreams.
    • 89 Metascore
    • 90 Critic Score
    The Quiet Girl
    It’s by addressing grief in its purest form that we empathise with the pain that can make us willing to open up again, pave over the cracks, and wound a broken heart.
  26. No Other Land
    No Other Land exemplifies the bravery and patience of activists and journalists. The occupation started over 70 years ago, and together, this unlikely pair capture its inhumanity with humanity.
  27. Transit
    With so many layers to unpack, this one stays with you.
  28. A Night of Knowing Nothing
    Through disrupting linear time, Kapadia’s speculative, poetic rumination on memory, political reality and personal association transforms the viewing experience into something transcendent.
  29. A Hidden Life
    A Hidden Life is, underneath it all, a love story. The Jägerstätters are a private microcosm imprinted by history. The Nazi regime is almost incidental, as these people could be anywhere opposing any evil regime. The substance of the film is buoyed by unselfish, enlightened love, shaped by a couple’s faith in each other’s morality.
    • 83 Metascore
    • 90 Critic Score
    Evil Does Not Exist
    So carefully and empathetically constructed – even towards its “villains” – that it feels miles away from didacticism, this shapeshifting ecological tale becomes a yearning rumination on the alienations of modern life, and the quietly violent seams where things in this world are changing and dying rapidly while we lack the language to arrive at the same destination, no matter how much people say they’re listening.
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