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 2.9 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: 643 out of 1077
  2. Mixed: 376 out of 1077
  3. Negative: 58 out of 1077
1077 movie reviews
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  1. The Deer King
    Although occasionally let down by weak writing and erratic pacing, the film’s visuals are glorious. Unsurprisingly given its creators’ backgrounds, The Deer King is meticulously crafted.
  2. Cocoon
    While heartbreak is imminent as it is a coming-of-age film, the absence of hopelessness brings a lightness to the film not begotten by hollowness, and you may even find yourself with a melancholy smile, as Nora’s metamorphosis is complete: she breaks out of her cocoon.
  3. Good Luck to You, Leo Grande
    The story focuses on the mutual gratification the protagonists provide each other, and how two imperfect humans meeting can prove a shared antidote for worldly ills.
  4. Pleasure
    By replacing one, more earthly transcendence, with another, Pleasure confirms itself as a film that lays bare the paradoxes of complying to a flawed system, and critiques the commercialisation of bodies with orgasmic poeticism.
    • 61 Metascore
    • 70 Critic Score
    Earwig
    Earwig consciously lacks the clarity we’re taught to ultimately expect from mysteries – but then Hadžihalilović is not in the business of making clear-cut whodunits. In opting to take a less-trodden path, she creates something sensuously distinct but narratively ambivalent.
  6. Il Buco
    It’s a magnificent piece of work, completely beguiling from end to end and one which wears its immense philosophical profundity with admirable lightness.
  7. All My Friends Hate Me
    The film keeps us guessing to the end, although a lack of character development and some ponderous plotting means it’s hard to care too much about the fate of Pete and the others.
  8. Swan Song
    Paying homage to a true hometown pioneer, Stephens’ portrait of a gentleman who knows how to be nothing but entirely himself is a compassionate and colourful character study.
  9. Bergman Island
    Rather than an attempt at directorial mimicry, Bergman Island is a unique vision from one of the greatest directors working today.
  10. The Bob's Burgers Movie
    It’s a well-paced comedy that never threatens to outstay its welcome, somehow managing to daisy-chain childhood anxiety, family financial worries and a murder mystery into a single, coherent plot.
    • 78 Metascore
    • 60 Critic Score
    Luzzu
    Clearly taking inspiration from Italian neorealism, Camilleri never embellishes or trivialises the landscape of fishing in Malta but rather presents it as it really is. Luzzu is a foreboding warning with no climax. A quiet call to action in the vein of Andrea Arnold’s Cow.
  12. Jurassic World Dominion
    Beyond its nonsensical plot, the film imagines the audience will be delighted by a myriad of references to the first film – but in Dominion it feels less like watching a beloved band play their greatest hits and more like watching them hawk merch to pay for an expensive divorce. Embarrassing.
    • 48 Metascore
    • 60 Critic Score
    Dashcam
    While the break-neck pacing effectively creates a chaotic feeling, it eventually takes away from the film’s harrowing effects. Nevertheless, even the most hardened horror fan is likely to feel a chill up their spine during the film.
  14. Elvis
    Tensing, thrusting, dripping with sweat and the promise of a good time after the curtain falls, Butler gets the moves, the voice and, most importantly, Elvis’ charisma down. Whatever flaws the film has, Butler’s Elvis is mesmeric.
  15. Cordelia
    Cordelia is a film of two halves and, unfortunately, only one of them is good.
  16. a-ha: the Movie
    The most compelling throughline of a-ha: The Movie is its level of detail and frankness. While the group’s stayed together for 40 years, through hiatuses and solo ventures, there’s an impression they’re not especially close.
    • 73 Metascore
    • 60 Critic Score
    Emergency
    Any flaws the film has in its pacing make it no less of an essential viewing experience, with an air of unpredictability in its final act and enough to say to stick with you after the credits roll.
  18. Top Gun: Maverick
    Top Gun: Maverick is an extremely enjoyable thrill ride, yet its focus on intense, immersive action doesn’t allow much room for lighter, steamier fun like its predecessor.
  19. Benediction
    Owen wrote several other poems about the horrors of war before his untimely death in 1920, and there is one which Davies does not feature here whose title nonetheless captures the mournful spirit of his film. It’s called ‘Anthem for Doomed Youth’.
  20. Father Stu
    The unfocused script from outclassed first-timer Ross never really follows through on what should be its foundational idea, led astray by underdone subplots and vague relationships between its characters.
  21. 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.
  22. Vortex
    If this is Noé at his most compassionate and vulnerable, it’s telling that Vortex ultimately lacks the raw emotional impact of Michael Haneke’s Amour, another brutally honest, skilfully acted chamber piece about dementia and death, or Florian Zeller’s more recent The Father.
  23. Everything Everywhere All at Once
    The film’s advocate for kindness amidst the zeitgeist generations’ omnipresent nihilism is heartfelt and hard-earned – and not without diving deep first into the dark, sticky terrains of our morals and minds.
  24. Men
    Garland’s film seems to be an attempt to highlight the very real misogyny within the modern world that has no insight on the subject beyond Women Have Always Had It Quite Bad.
  25. Doctor Strange in the Multiverse of Madness
    While Raimi injects as much soul into this sequel as the Marvel blueprint will allow, it’s difficult to see the film as anything other than a cog in a bigger machine.
  26. This Much I Know to Be True
    Each shot is framed with tenderness, and the rapport between Cave, Ellis and Dominik is a palpable testament to the depth of their trust for one another.
  27. We're All Going to the World's Fair
    Cobb is excellent at toeing the lines between calm and unhinged, often fluctuating between them and never really settling on either.
    • 78 Metascore
    • 70 Critic Score
    The Velvet Queen
    It’s a hypnotic lesson in watchful photojournalism, offering an insightful take on a quest to liaise with wildlife in its natural habitat – in this case, the rare Tibetan snow leopard.
  29. Casablanca Beats
    Ayouch means well, interpreting the teens’ connection to rap music as emblematic of a rebellious spirit, yet deeper discussions on other social issues – politics, women’s rights, religion – are unfortunately reduced to mere sources of frustration, either ending abruptly or remaining incomplete.
  30. Downton Abbey: A New Era
    The overall effect of this well-starched pantomime of Britishness is dizzying – it produces the peculiar kind of seasickness induced by cake-coloured period dramas when they don’t quite capitalise on their potential for quality kitsch, instead over-amping the nostalgic sentimentality, and neglecting the campiness that could make them so much more fun.
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