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. Steve
    A general lack of detail ends up meaning that a lot of the film’s emotion and ideas are stated directly, whether through Murphy’s jittery (and at times quite contrived) performance, or via a voiceover device.
  2. One Battle After Another
    This is another slam-dunk for Anderson, who has made a film that is a very rare beast indeed: one that is incredibly fun without ever once straining to be. And if you’re reading these words, it’s your god-given duty to go see this in a cinema on the biggest, loudest screen you’re able to access.
    • 82 Metascore
    • 70 Critic Score
    From Ground Zero
    From Ground Zero is a heartbreaking snapshot of an unforgivable moment in history, and as this tapestry of Palestinian life unfolds on our screens, we must heed the call of the artists who made it. Enjoy life, yes, but do something, anything, to ensure that they might enjoy life too.
  4. Spinal Tap II: The End Continues
    No-one has a clue what they’re doing or what the purpose of this slip-shod, opportunist enterprise is. The film pays such heavy and pummelingly-consistent homage to the unimpeachable 1984 original, This is Spinal Tap, that the whole thing starts to look unseemly and self-satisfied.
  5. The Long Walk
    The film works best when it allows the boys to simply shoot the breeze and discuss the lives they’ve led up to this moment.
  6. Islands
    Delightfully, Islands doesn’t patronise viewers. The film refuses to confirm or deny suspicions. It’s an exhilarating feast from co-writers Gerster, Blaž Kutin and Lawrie Doran who pen this winding tale with sharp subtlety.
  7. The Toxic Avenger
    This new The Toxic Avenger is relatively restrained, infuriatingly unfunny, yet entirely on-the-nose for more than just the stench of rot and urban decay that its scenes so frequently evoke. Sometimes the old hits are just better left uncovered.
  8. Afternoons of Solitude
    The film offers no explicit commentary or context, but instead allows the images to speak for themselves.
  9. Young Mothers
    After so many punishing stories, most recently 2022​’s Tori and Lokita, it’s hard to begrudge them the raw sentiment and mostly happy, hopeful endings of their newest one. But it comes too easy, in a film so artfully and opportunistically structured, which jumps from dramatic peak to dramatic peak as if skipping tracks on an album.
  10. 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.
  11. Crazy Rich Asians
    It may fall prey to the odd awkward joke or saccharine moment, but Crazy Rich Asians is a blast from start to finish.
  12. Isn't It Romantic
    The satire isn’t quite as sharp as you would hope though.
  13. I Know What You Did Last Summer
    The direction leaves much to be desired too; when the film veers into horror territory, with frequent off-screen kills and often incoherent action, it offers little of the original’s gripping tension.
  14. On Swift Horses
    The charismatic performances by Elordi and Edgar-Jones ensure that On Swift Horses is never less than watchable. They are both doing terrific work here, taking generous bites into material that does not match their commitment.
  15. The Roses
    If the film doesn’t radically deepen the conversation around the gender politics or financial intricacies of marriage, it does find new textures in the way ambition corrodes intimacy.
    • 65 Metascore
    • 80 Critic Score
    Caught Stealing
    While some of Aronofsky’s auteurist stamp gets lost restaging some of Gotham’s greatest cinematic hits, Caught Stealing hardly feels like director-for-hire work.
  17. Put Your Soul on Your Hand and Walk
    All we can do is refuse to look away. In bearing witness, we can regard the pain of others as our own.
  18. The Life of Chuck
    Despite all its layers The Life of Chuck is nothing more than a set of Russian nesting dolls made entirely of borrowed brilliance.
  19. Eddington
    The film certainly is rare in actually offering an authentic depiction of social media and its noxious capabilities, even if its insistence on proving there’s no righteous moral that can’t be swiftly liquidated does become a little tiresome by the home stretch.
  20. Savages
    The handmade qualities of this world amplify the sense of devastation. The characters, whose designs resemble Barras’s work on My Life as a Courgette, each have distinct personality in their design as well as a visible human touch on their surface which creates a level of immersion.
  21. Unmoored
    Turestedt is quietly superb in the lead and she carries the film’s themes on her shoulders with Jack-in-the-box tension, her veneer as a successful Swedish television presenter mimicking the repression she’s facing in her life.
  22. Sorry, Baby
    It’s the banality of enduring a sexual assault that Victor captures so well in her film; how the trauma lingers long in the body, even when you keep insisting to everyone (including yourself) that you’re fine.
  23. Nobody 2
    A film this unwilling to make any sort of profound statement needs to at least be dumb and fun, and it actually manages to be neither.
  24. Together
    It’s a shame Together doesn’t lean into the humour more, as that’s what really sets it apart from other disturbing body horror with similar DNA.
  25. Materialists
    It’s sometimes clumsily communicated but there’s something affecting about the reminder that it’s all worth the risk, or maybe it’s just that this writer has attended four weddings this summer.
  26. Stans
    The stans themselves are not massively interesting, and the film is happy to frame them as whimsically eccentric nerds rather than anything more psychologically problematic (which would confirm to a truer definition of the term ​“stan”.)
  27. Weapons
    It’s a shame that the film falls back on old ideas, because Weapons’ first half is genuinely intriguing and some of the film’s scares are effective in both shock value and bewilderment. It’s clear that Cregger has a cinematic spark, and his sick sense of humour is most welcome in these trying times, but two films in, it’s time to find a new boogeyman.
    • 60 Metascore
    • 50 Critic Score
    Freakier Friday
    Like a lightly rebellious Disney protagonist, Freakier Friday is nowhere near perfect, but gives it a good shot. It’s certainly more cliché than its predecessor and lacks some of the original’s polish and edge, but it’s undeniably entertaining for the most part, and sometimes – just sometimes! – that’s all a film needs to be.
  29. Bring Her Back
    Nearly every character in Bring Her Back is drowning in the depths of despair and desperately clinging on for dear life. Some flail and give into their worst instincts, some sink into oblivion, and others break the waves of grief and cruelty, albeit emerging with terrible scars.
  30. The Naked Gun
    The by-any-means-necessary bit barrage crams sight gags into the corners of frames, the credits, the infinitesimal space within edits. In a film that nobly aspires to everything being funny at all times, anything can be, the chief benefit of director Akiva Schaffer’s attention to and appreciation for the elements of cinematic form. You’ve got to be smart to be this stupid.
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