By Sam Moore
On the late night programming block of an American television channel a series of bleak parody shorts riff on the relationship between the internet and spectatorship.
By Sam Moore
As The Thing turns 40, its place within Carpenter's exploration of spiritual breakdown has never felt more prescient.
By Sam Moore
As Female Prisoner 701: Scorpion turns 50, Meiko Kaji's feminist action heroines are as thrilling to watch as ever.
By Sam Moore
Thirty years after it was released, the British director’s take on Virginia Woolf’s novel is a powerful study of self-identity.
By Sam Moore
Russell T Davies’ landmark AIDS drama reveals how confusion and fear gripped gay men in 1980s.
By Sam Moore
In 1976’s Sebastiane and 1986’s Caravaggio, the director refuses to relegate homosexuality to the subtext.
By Sam Moore
Billy Wilder’s classic Hollywood satire from 1950 is also a great post-modern ghost story.
By Sam Moore
Gregg Araki’s mid-’90s triptych explores the hope and hopelessness of being young and openly gay.
By Sam Moore
Alan Rickman’s iconic Die Hard baddie is a faux-revolutionary motivated purely by financial gain.
By Sam Moore
Shin’ya Tsukamoto’s nightmarish 1989 body horror explores the morbid fusion of biology and technology.
By Sam Moore
In a time of political uncertainty, his bold representations of queerness remain as vital and relevant as ever.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
