Little White Lies' Scores

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For 1,077 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 2.7 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: 643 out of 1077
  2. Mixed: 376 out of 1077
  3. Negative: 58 out of 1077
1077 movie reviews
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  1. Dead Man's Wire
    Van Sant directs with a steadiness that occasionally borders on pastiche. He resists sensationalism, which is no small feat given the bombastic source material. The hostage sequences are gruellingly tense, but the film never quite finds a rhythm beyond escalation, monologue, negotiation, repeat. For a story and subject this strange, the filmmaking flourishes are conservative.
  2. Heel
    Despite Boon matching Graham’s quiet intensity and Riseborough’s low frequency depression with a gnashing rebellious streak, the three performances can’t lift The Good Boy from the limitations of its own tethered melodrama.
  3. Ready or Not 2: Here I Come
    There’s nothing subtle about these films, from their Eat The Rich messaging to the just-go-with-it in-world lore, but in all of their schlock they strike a welcome tone between winking self-awareness and retro absurdity.
  4. La Grazia
    If Sorrentino has a special power as a filmmaker, it’s his ability to draw the very best out of Servillo in any type of terrain, and it’s this wholly committed and natural lead performance which holds together an otherwise slipshod and fatally schematic tale how the cold realities of life and death can feed into the process of politics.
  5. Arco
    This is primary-colour, major-key storytelling. It is disarming, charming and unafraid to be sincere – especially when it comes to the sparks of inspiration, creativity and connection that are so fundamental to human existence.
  6. Project Hail Mary
    It’s a crowd-pleasing package, and Gosling is likeable enough to sell even the corniest jokes.
  7. Happy New Year, Colin Burstead.
    Wheatley captures the volatility of emotions during the festive period, where every familial anxiety seems to come to a head, and does so with compassion and humour.
  8. A Pale View of Hills
    The story is not particularly forthright in articulating its themes and ideas, and while that may work in the slow-burn pages of a novel, it just feels contrived and manipulative up there on the screen.
  9. Everybody to Kenmure Street
    We don’t hear from law enforcement as to why the raid happened in the manner it did, and why it ended in a humiliating capitulation. Yet there’s definitely a rousing prescience to a film like this at such a politically precarious moment, and perhaps we should take this rare happy ending with a pinch of salt.
  10. Scarlet
    On paper, it’s Hosada’s usual tunes blown up on a grander scale. In practice, the results are an overstuffed yet simplistic mess.
  11. How to Make a Killing
    It’s a song and dance we’ve seen before, with both Powell and Qualley operating on cruise control.
  12. 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.
  13. Resurrection
    With such a moving ode to the symbiotic relationship between dreams and film, a nightmare would be if this is his final word on the matter.
  14. The Bride!
    The Bride! doesn’t have a single original thought worth pursuing. The fact that this film appears so shrilly convinced of its radical praxis speaks to a bizarre disconnection from reality.
  15. Hoppers
    One can’t help but long for something a little more exciting than ​“pleasant” – Pixar used to lead the animation industry, and they’ve been treading water for far too long.
  16. Sirât
    Sirât is a truly staggering and major film, one that has to be seen to be believed – a masterful gambit of affectionate character and community building that mutates into a work that deals with the primal instincts of human survival and the idea that we create our own gods through the things that we chose to worship.
  17. The Testament of Ann Lee
    It’s Fastvold who somehow makes all these elements coalesce with such brio and eccentricity, expanding the possibilities of filmed biography while also making a film that manages to land direct hits to the head, the heart and the gut.
  18. The Moment
    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.
  19. Splitsville
    It’s a film not without occasional moments of spark, and flits along quite happily, but Splitsville seems continually intent on undermining itself, and in the process becomes totally forgettable.
    • 78 Metascore
    • 80 Critic Score
    If I Had Legs I'd Kick You
    Sitting in the crux between comedy and horror, it presents both a stark reappraisal of conditional acceptance and a needle precision critique of mental health awareness.
    • 76 Metascore
    • 80 Critic Score
    Wasteman
    Wasteman doesn’t imply that either of these men is more or less deserving of being inside or that we should be rooting for one of them over the other. Both men are troubled, sad, selfish and violent, mired in trauma that Dee expresses through bravado and physical domination, which manifests more inwardly in Taylor.
  22. The Secret Agent
    The Secret Agent is, of course, a film of its own, and feasibly Mendonça Filho’s most refined, outright-auteurist work yet. Moura anchors this tale of history as an afterlife with a terrific encapsulation of the kind of hopelessness that masks itself as resilience, his gaze infused with the aching longing of a future condemned to remain possibility.
  23. EPiC: Elvis Presley in Concert
    The director has described his film as a poem, but its rhythms feel more abstract, like recalling the best concert of your life in a dream. Brilliantly forgoing nostalgia to frame Elvis in the present, Luhrmann offers the closest experience of a live Elvis show that we may ever see. And like the Vegas residency, EPiC deserves a standing ovation when Luhrmann’s curtain falls.
  24. Little Amélie or the Character of Rain
    With its vibrant use of colour, expressive character design and flights of expressionist fancy, Little Amélie offers a lyrical vision of early-years development and so much more.
  25. Whistle
    There was room to do something ridiculous here – it bears repeating: this is a film about a killer whistle. Why is it taking itself so seriously?
  26. Crime 101
    The desire to create a web of characters as complexly mapped as the LA road network is to the film’s detriment; much like a good heist crew, you’ve got to know when the cut the dead weight.
  27. Good Luck, Have Fun, Don't Die
    This numbing, relentless barrage of meaningless nonsense feels, more than anything else, like a TikTok doom scroll. Now that’s topical.
  28. The President's Cake
    Filtering the tale through Lamia’s childlike whimsy allows the colourful, polished cinematography to sing.
  29. The Strangers: Chapter 3
    Ultimately The Strangers: Chapter 3 offers no redeemable qualities and is so vacuously unremarkable that it is already in the process of being forgotten.
  30. My Father's Shadow
    The direction by Davies Jr is top-notch, not just in how he is able to capture the fine nuances of the actors on camera, but also in how they are immersed in the chaotic mêlée of Lagos at this powder-keg moment.
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