Little White Lies' Scores

  • Movies
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:
1079 movie reviews
  1. Despite sleepiness being part of its premise, the pacing of Yu’s film is propulsive, and the deft detours into dark comedy – especially a reveal involving PowerPoint slides – are a highlight. But it’s Jung and Lee’s work that lingers the most, their thoroughly charming, lively performances enhancing the tragedy and dread of something awful happening to them.
    • 74 Metascore
    • 80 Critic Score
    Here, faced with many barriers, a director is experimenting with the film form itself, taking apart all the tools at his disposal and smashing together their raw components to forge something new.
  2. As with both Velvet Goldmine and I’m Not There, Haynes finds an enthralling middle ground between hero worship and ambivalence. There’s no thrill, no intrigue in hagiography. It’s the music, and where it takes you, what it opens up for you, that’s the thing.
  3. Mizrahi films one-on-one interviews with a shallow depth of field, so that her subjects appear with the occluded intensity of their own remembrances.
  4. It’s a compelling and immersive drama which attains a contemporary relevance without ever really trying too hard.
  5. An absorbing set of vignettes, though the third section definitely ups the emotional ante.
  6. Refusing to take itself too seriously, this spirited contemporary period piece captures some of the insanity that was brat summer – but crucially reminds us there’s something to be said for knowing when to leave the party.
    • 82 Metascore
    • 80 Critic Score
    Ultimately, the lasting message of Lost and Found is discovered in the heart of its subject’s work, and the undeniable power of his uncompromising camera lens – frames transformed into cinema, an abrasive reckoning with the edifice of the past.
  7. While Scrapper might not have the most original conceit, it’s a sweet, heartfelt take on the difficulty of father-daughter bonding, and how to be soft when you’ve tried to make yourself hard to avoid getting hurt.
    • 81 Metascore
    • 80 Critic Score
    An uplifting tale aided by an incredible soundtrack and captivating subject.
  8. Harari’s film is a practical, simple and saddening document of everyday madness.
  9. Fiume o morte! explores the dangerous, empowering nature of fascism, and how certain forms of aggression would seem fair game under a régime that rules by such inhumane edict.
  10. Even if the dry wit and cherrypickable allusions may be absent, the technical virtuosity on display marks this as the work of a master. Visceral, haunted, and severe, Coen’s vision coaxes out not just the intensity in the play – every “gritty” take has done this, from Roman Polanski to Justin Kurzel – but in its older renderings.
  11. Anchored by Susan Chardy’s restrained performance, On Becoming A Guinea Fowl might touch on hot-button themes of sexual violence, misogyny and familial cycles of abuse, but Rungano Nyoni finds her own intriguing language to explore them.
  12. It’s about the steps towards healing, challenging Western viewers to allow images of beauty and normalcy to play a part in that journey.
  13. With Ali & Ava, Barnard triumphs in presenting a romance tale that is deeply grounded, yet in its well-matched leads and heartfelt story, still possesses the magic required to sweep the audience off its feet.
  14. Cow
    Its observational mode keeps it from being didactic or manipulative in any way, and it adopts an intimacy that evokes the deepest empathy. Luma’s pain is never spectacle.
  15. There’s a cumulative emotional impact, generated by the fond recollections of everyone who loved him but couldn’t save him from what he was going through, and marked by the extent to which so many of them are willing to share precious private moments.
  16. Dolan ensures that such myth comes with a dark gothic edge, unnerving, insidious and uncannily ambiguous, as this clan’s internal problems find their expression in highly incendiary rites of Capgras cleansing.
  17. There is hope: Gazan journalist Bisan Owda is among the talking heads, given appropriate space in the film’s moving closing moments to reflect on the rippling global awakening concerning freedom for the Palestinian people; on the importance of feeling, regardless of how gradually, that they are not alone.
  18. It’s a supremely compelling tale leavened by its wry humour and a subtle commentary on the essential emptiness of American life.
  19. There are a few moments of strain and not every gag is comedy gold, yet overall it certainly tickles the cross-generational funny bone and Shaun himself, irrepressibly naughty yet affectingly open-hearted, remains a fluffy icon for young and old alike.
  20. Even with its artsy cinematography, this feels like Audiard’s least self-conscious work to date, a playful reminder that the kids aren’t alright, but they’re feeling their way through.
  21. This is a film trying to wriggle out of the straitjacket of its own story, the better to reveal the symbiotic passions within its two leading ladies.
  22. For devotees, it’s a delightful little morsel, lovingly brought to life as only Anderson knows how, and illustrates his creativity when it comes to adaptation.
  23. Sometimes the filmmaking doesn’t quite do enough to elicit the requisite intensity from some key conversations, but it certainly lands its most important punch, which arrives at the devastating climax.
  24. Fascinating in its balance between microcosm and aerial view, but the performances definitely raise more emotional heat.
  25. The Nowhere Inn is fan service in the most St Vincent of ways: solidifying her mysterious image as a queer women’s deity, baring everything and revealing nothing at all.
  26. There is a strong metacinematic element to all this showmanship, and as Zephyr must work out just how much like Tucker she is capable of being, we too are confronted with the nature of our own spectatorship, uncomfortably similar to Tucker’s, for in our window seat on events, we are no captive audience.
  27. It’s perhaps one or two increments too obscure, too puzzling and too unwilling to give anything away that it seems to end mid-sentence, without any traditional closure. Yet it’s still a bold work that puts great faith in its cast to play along with this game of chilling insouciance.

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