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. Flag Day
    The scenes of Jennifer’s childhood are endless montages, with repetitive blown-out happy-families memories and blatant Terrence Malick ripoffs of the same hand caressing the same strands of wheat from several different angles, and the whole thing is tied together with pretentious and solecistic voiceover delivered by Dylan Penn and surely written by her father as they laboured to salvage the movie in the edit.
    • 48 Metascore
    • 40 Critic Score
    Ant-Man and the Wasp: Quantumania
    While the Quantum Realm felt strange and unique in earlier, briefer views, here it quickly falls in line with much of Marvel’s recent CGI output: splashy but nondescript, all psychedelic purple clouds and gargantuan, brutalist military buildings that homogenize every location in a universe of seemingly infinite possibility.
  3. Memories of My Father
    There’s something inherently unsatisfying about the film’s ambling structure, as the first hour flies by and nothing of great import has really happened.
  4. Golda
    The highlight of the film comes right at the end where we see some archive footage of Golda interacting with some of her supporters, and it’s never a good sign in these endeavours when reality is so much more electrifying and vital than the fiction.
    • 53 Metascore
    • 40 Critic Score
    It Ends with Us
    The result is a visual headache, overcrowding every frame with colour, texture and patterns, rather than building to some carefully orchestrated tension.
  6. Wolf Man
    With the emotional stakes having been spelled out in giant, razor-sharp claw marks, all that’s left to do is squirm at Blake’s slow, agonising change and wait for the inevitable to happen.
  7. Emmanuelle
    The film is not wanting for alluring, dramatic situations, but the filmmakers seem at best haplessly blind and at worst blithely dismissive of their potential.
  8. Honey Don't!
    The overriding feeling you glean from Honey Don’t! is that it’s an example of two formidable filmmakers working in a register that almost punkishly rejects the intricacy and breathtaking formal panache of their past work.
  9. West Side Story
    It’s a rare, backwards looking misfire for this director who has always been at the vanguard of cinematic innovation. The care and attention that has gone into the making of this film is undeniable, though at times it feels misplaced and others overwrought.
  10. Star Wars: The Mandalorian and Grogu
    Beyond occasionally marvelling at the lively work of the puppeteers, there’s not a lot to hold on to in The Mandalorian & Grogu, not even the supposed father and son connection between its marquee characters.
  11. Natural Light
    This low-on-dialogue, low-on-action, high-on-atmosphere feat is deeply cinematic, yet begs the questions: is there anything new to be said about World War Two, and is Nagy’s effort enough to stand out in this terribly overcrowded genre? The answer, alas, is no.
  12. Mothering Sunday
    There is pain worth immortalising in the stories of the past, and endless sadness found in a lonely woman’s quiet existence. Yet Mothering Sunday fails to look beyond what the outside world can see, in order to really excavate a truth to be remembered once the holiday has passed.
  13. Club Zero
    While it would be unfair to suggest Hausner is condoning Novak’s actions, there is a sort of nihilistic glibness about the film which leaves a sour taste.
  14. Drift
    Despite its laid back tone and a committed performance from Erivo, the film lacks for surprise and innovation, slowly edging towards a revelatory climax that only the most narrow-sighted of viewers would not have seen coming from a million miles off.
  15. Reminders of Him
    While It Ends With Us and Regretting You contained at least some decent acting and production value, Reminders of Him is a grim dose of misery and trauma porn punctuated by a terrible lead performance and an undeniable conservative sheen.
  16. Bottoms
    Unfortunately, the cast is saddled with a half-baked script, which underdelivers on its promise of a queer, female fight club by seeming to forget that’s a crucial element of the story.
    • tbd Metascore
    • 40 Critic Score
    Chicken Town
    The few sin­cere inter­ac­tions between this cen­tral trio are the sole high­lights of the film, as Fel­lows’ com­e­dy tal­ents are wast­ed in a flim­sy script.
  18. Thor: Love and Thunder
    Where Thor: Ragnarok was unpredictable and unruly in the most thrilling way, Love and Thunder by contrast feels safe and formulaic. Waititi is too preoccupied with trying to land the same jokes, and he burdens the film with a wishy-washy love story which even by the MCU’s low standards feels shallow and perfunctory.
    • 50 Metascore
    • 40 Critic Score
    The American Society of Magical Negroes
    At various points, the film seems to be on the verge of something riveting.
  20. Mean Girls
    The result is a teen movie with an identity crisis.
  21. No Hard Feelings
    Perhaps the demand for super low-stakes, “turn your brain off” studio comedies where the only point is cathartic laughter will one day return. It brings this writer no joy to report that No Hard Feelings isn’t the film to usher in that era.
  22. Eleanor the Great
    The images within the film are too general and familiar – there is nothing new about what Johansson is attempting in her directorial debut, which leads one to wonder why she bothered making it at all. It’s not a disastrous film – in fact, it’s quite inoffensive. But this glaring niceness reflects a crucial lack of ambition, and that seems more egregious than taking a big swing.
  23. Fantastic Machine
    Fantastic Machine makes for a decent A-level crash-course in media history, before you graduate to Kirsten Johnson’s far superior Cameraperson.
  24. Orwell: 2 + 2 = 5
    The filmmaker draws some arresting audiovisual cues into the patchwork of images, but the film lacks some of the goofy wit of British documentarian Adam Curtis, whose own provocative essays at least offer some element of surprise (even when they don’t work themselves).
  25. The Housemaid
    The Housemaid lacks the guile to transform its flaws into future camp classic material – it feels like a sign of the times: a film which holds the audience’s hand at every turn while gesturing at the very real issue of domestic violence, yet keeping things just light and sexy enough that no one will be bummed out this holiday season.
  26. The Exorcist: Believer
    Far from converting viewers, this merely cashes in on their backward-looking nostalgia, without moving forward to anything better, or even half as good.
  27. Joker: Folie à Deux
    This is a film of half-measures, lacking ambition in a way that is at least mildly more entertaining than its predecessor, but that’s down to the pleasures of songs written half a century ago rather than any talent Phillips has to offer as a filmmaker. Send in the clowns indeed.
  28. Saltburn
    What begins as a genuinely entertaining and well-pitched dramedy quickly becomes ridiculous and out of touch.
  29. A Complete Unknown
    It’s a hot-waxed shrine to its subject, an official version which drips with hollow trivia and is happy to namecheck that thing it knows you like rather than reveal something that you didn’t.
  30. The Feast
    Arbitrary continuity errors, heavy-handed symbolism, an agonisingly laborious pace and shallow characterisation leave a sour taste in the mouth, especially as the payoff is not gruesome enough to justify the means that get us there.
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