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Kinds of Kindness – first-look review

By David Jenkins

Yorgos Lanthimos returns with another scorcher in this innovative and darkly comic trio of films about spiritual domination.

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The Shrouds – first-look review

David Cronenberg’s melancholy exploration of how we retain our connection with the dead makes for one of his most beautiful love stories.

LWLies 102: the Challengers issue – Out now!

By Little White Lies

Join our fully-illustrated celebration of Luca Guadagnino’s sparkling sports romcom.

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Alice Rohrwacher creates a magical fairytale about a group of tomb raiders, anchored by a soulful performance from Josh O'Connor.

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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.

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Home » Blog » 6 Best Film Magazines To Read in 2023

6 Best Film Magazines To Read in 2024

• By Amy Clarke
• January 11, 2022

We independently test and review everything we recommend. When you purchase through links on our site, we may earn an affiliate commission. Learn more .

Film magazines cover a range of topics, from reviews to interviews and essays. Although the internet has caused a massive drop in print sales, magazines are still widely read. 

There are a few different types of film magazines for you to choose from. First are the classical magazines which have been around since the start of cinema. This includes the  Cahiers du Cinema   which backed the beginning of the French New Wave. Then there are job-role, or focused magazines and lastly ones that just focus on mainstream movies.

Many of these magazines also have websites where you can get a taste of their content for free. So, whether you are a film student, film fan or work in the industry, there is something out there for you. The following film magazines are all available in print and delivered worldwide.

1. Sight and Sound

Audience: Film Fans Cost: £5.95 per issue

Sight and Sound is one of the oldest film magazines started in 1932 by the British Film Institute. This famous magazine celebrates the art of cinema and TV worldwide. It also runs the once-a-decade poll of the greatest films of all time.

Unlike other filmmaking magazines, it features expert film analysis and essays. It also includes in-depth reviews, interviews, and articles on cinema history. For example, the latest edition is on the films of the French New Wave.

The writers of Sight and Sound are some of the best English movie critics in the world. The monthly magazine is available in print and online. In addition, all subscribers gain instant access to the 80-year collection of past issues.

2. Filmmaking Magazine

Audience:   Filmmakers Cost: $18/year, $10 digital

This magazine talks about the business, tech, and craft of independent filmmaking. In particular, it features interviews with film crew workers. It has an audience of more than 60,000 with both print and digital downloads. Inside expect to find interviews, essays, and filmmaking advice. In addition, it covers worldwide film festivals and events.

You can read online articles for free. Topics include screenwriting, directing, and post-production. Filmmaker Magazine prints only four times a year and has a discount for digital downloads. They also have a free newsletter with monthly filmmaking advice.

3. Film Stories

Audience: Film Fans and Filmmakers Cost: £5.99 per issue

Film Stories is a new UK movie magazine launched in 2018 as a podcast, website, and print. Founded by Simon Brew, it aims to celebrate movies of all genres. In addition, it covers UK cinema and promotes independent films.

Since it’s a new independent film magazine, the audience is small but is growing every month. Features include reviews, interviews, film news, and a podcast. Film Stories Junior is aimed at the under 15’s and is published four times a year.

You might like Film Stories if you want a support a UK print that celebrates big and small movies. Filmmakers are also welcome to submit trailers and promote their upcoming films. New articles are also uploaded daily on their website’s front page.

4. Little White Lies

Audience: Film Fans Cost: £28.00 for five issues

Founded in 2005, this is a film magazine, website, and podcast. However, it’s slightly different from the others as it combines film news and reviews with art and design.

Each issue features a cover design dedicated to a key feature film. In addition to the magazine, they have also published filmmaking books, weekly podcasts, and a YouTube channel.

Little White Lie is for film fans and filmmakers who want to read interviews and in-depth movie reviews. It’s a lively magazine with graphics, film reviews, and even a monthly horoscope. Past film reviews and essays are available on their website.

5. American Cinematographer

Audience: Camera Department Cost: $70/year, $20 digital 

Most movie magazines target the general film fan. However, some focus on a particular skill or department. This magazine, founded in 1920, looks at the art and craft of camera and lighting.

Its readership is primarily DOPs , directors and producers . Therefore, it only features interviews with DOPs, directors, and camera crew. In addition, you can find articles on tools, camera advice, and lighting designs.

This magazine is for those interested in the behind the scenes. It’s intended for both film students and industry professionals. The AC is a monthly magazine and only comes with a yearly subscription. However, there is also a more affordable digital version where you can read past issues.

6. Total Film

Audience: Film Fans   Cost: £4.99 per issue, £3,99 digital  

If you are looking for more of a mainstream movie magazine, check out Total Film and  SFX . These two film magazines focus on Hollywood and science fiction movies. Total Film, created in 2004, reviews feature films showcasing in the cinema and on streaming platforms.

The British magazine has over 30,000 readers and prints 13 times a year. Articles include celebrity interviews, reviews, and film essays. In addition, they visit film sets, review indie films , and offer sneak peeks of upcoming movies. 

Total Film also has a very active website with daily uploads of news and reviews. Unlike other websites, they don’t cherry-pick and review every release. It’s available as a print and digital download.

Wrapping Up – Best Film Magazines

To sum up, there is a wide variety of film magazines for all interests from professional filmmaking to those who simply just love to watch films.

Print magazines are slowly becoming less popular however it seems that specialist magazines like filmmaking are the exception. Some of these magazines have been around since the start of cinema and hopefully, they will continue to find an audience and inspire a new generation of filmmakers.

Better still, many of them are now available to download so you can read on your phone, laptop or tablet. 👌

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Critic’s Pick

‘Hit Man’ Review: It’s a Hit, Man

Glen Powell stars in one of the year’s funniest, sexiest, most enjoyable movies — and somehow it’s surprisingly deep, too.

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By Alissa Wilkinson

If I see a movie more delightful than “Hit Man” this year, I’ll be surprised. It’s the kind of romp people are talking about when they say that “they don’t make them like they used to”: It’s romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell, who’s been having a moment for about two years now. It’s got the cheeky verve of a 1940s screwball rom-com in a thoroughly contemporary (and slightly racier) package. I’ve seen it twice, and a huge grin plastered itself across my face both times.

That’s why it’s a shame most people will see it at home — Netflix is barely giving it a theatrical release before it hits streaming even though it’s the sort of movie that begs for the experience of collective gut-splitting joy. Oh well. If you can see it in a theater, it’s worth it. If not, then get your friends together, pop some popcorn and settle in for a good old-fashioned movie for grown-ups.

The director Richard Linklater and Powell collaborated on the “Hit Man” script, which is loosely based on Skip Hollandsworth’s 2001 Texas Monthly article about Gary Johnson, a faux hit man who actually worked for the Houston Police Department. In the movie version, Gary (Powell) is a mild-mannered philosophy professor in New Orleans with a part-time side gig doing tech work for law enforcement. One day, he is accidentally pulled into pretending to be a hit man in a sting operation, and soon realizes he loves playing the role.

Or roles, really: The more Gary gets into it, the more he realizes that each person’s fantasy of a hit man is different, and he starts to dress up, preparing for the part before he meets with the client. (If this movie were solely constructed as a de facto reel demonstrating Powell’s range, it would work just fine.) Then, one day, pretending to be a sexy, confident hit man named Ron, he meets Madison (Adria Arjona, practically glowing from within), a put-upon housewife seeking his services. And everything changes for Gary.

A great deal of the enjoyment of “Hit Man” comes from simply witnessing Powell and Arjona’s white-hot chemistry. Seeing Powell transmogrify from nerdy Gary to five o’clock shadow Ron and back again is both hilarious and tantalizing, while Arjona has a big-eyed innocence crossed with wily smarts that keeps everyone, including Gary, guessing. Multiple layers of deception keep the movie from feeling formulaic — you’re always trying to keep track of who thinks what, and why. Eventually, when “Hit Man” morphs into a kind of caper comedy, part of the joy is rooting for characters as they make choices that are, at best, flexibly ethical. In doing so, we get to be naughty too. In a movie starring a philosophy professor, that’s especially funny, a wry joke on us all.

But there’s more surprising philosophical depth in “Hit Man” than meets the eye. While on the surface it’s more or less a romantic comedy, beneath the hood it’s a coming-of-age story for Gary, whose life has stagnated. After a divorce, he lives alone with his two cats named Id and Ego and a large collection of plants; his students make fun of him for driving a Honda Civic, and he eats cereal for dinner. Gary is perfectly content with his life, or at least he thinks he is. But it slowly becomes clear the simplicity is less choice and more comfort zone. He’s lost himself somewhere along the way. He’s ruled out the possibility of surprise and adventure. Being a fake hit man gives him the possibility of inhabiting other selves, other lives — of trying on identities for size.

The question of the self — where it resides, whether we’re stagnant or able to change — has long been a fixation for philosophers, and Gary is no different. He declares his “primary interest” to be “the eternal mystery of human consciousness and behavior.” At the start of the semester, he tells his students that they’ll be challenging the notion of the self that semester, from social identity to close relationships. “What if your ‘self’ is a construction, an illusion, an act, a role you’ve been playing every day since you can remember?” he asks them, smiling. Teacher, teach thyself.

That inquiry is woven throughout “Hit Man,” which takes a definite point of view on the subject. Yes, the self is changeable — but it takes a bit of bravery to discover who you want to be. What’s more, no man is an island. The self doesn’t change when we grit our teeth and decide to be different, but when other people see us, recognize who we are and decide to love us for it.

Don’t get me wrong. I can imagine some enterprising philosophy teachers constructing extra credit assignments around “Hit Man,” but it definitely doesn’t feel like homework. You don’t even have to pick up on the headier bits to have a load of fun. It’s radiant and loose and confident, the kind of movie that you can just tell was a blast to make, which makes it a blast to watch. As our overstuffed big-budget era starts to falter, let’s hope they start making movies like this again.

Hit Man Rated R for a few artfully shot sex scenes, some bad language and a bit of hit man work. Running time: 1 hour 55 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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‘horizon: an american saga — chapter one’ review: kevin costner gets thrown from his horse in muddled western epic.

The director stars alongside Sienna Miller, Sam Worthington, Jena Malone and Luke Wilson in the opener of a quartet of films about the settlement of the American West.

By David Rooney

David Rooney

Chief Film Critic

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Cannes: sean baker's 'anora' wins palme d'or as 'emilia pérez' takes two awards, a trans drug kingpin, masturbating zombies and emma stone: thr's critics pick the 20 best films of cannes 2024, horizon: an american saga — chapter one.

What’s most perplexing coming from Costner is the uncomfortably long time the film takes to show sensitivity toward its Indigenous characters. We’re well into Horizon before the perspective on Native resistance is broadened to acknowledge that their murderous attacks on new settlements are a direct response to the occupation of their ancestral lands. It’s very confusing to see a Western in 2024 and find yourself thinking, “Wait, so American Indians are the bad guys again?”

The blustery notes of John Debney’s score over the opening title card announce that we’re about to watch A Work of Great Importance. It begins in Arizona’s San Pedro Valley in 1859, as three surveyors, one of them just a boy, hammer stakes into the ground to mark a plot of riverside land. Two Indigenous kids observing from the rocky hills wonder what the white folks are doing and why they have come. The two adult Native brothers who appear shortly after, Pionsenay (Owen Crow Shoe) and Taklishim (Tatanka Means), are not so much curious as simmering with rage.

The action then jumps to Montana Territory, where Lucy ( Jena Malone ) empties a rifle into James Sykes (Charles Halford), a man who has clearly wronged her, then takes off with their infant son. The dead man’s tough family matriarch (Dale Dickey) sends her two sons, Caleb (Jamie Campbell Bower) and Junior (Job Beavers), to dole out retribution and bring back her grandchild. One is a hotheaded idiot, the other smarter and more controlled, plus he can rock a silver wolf stole.

Meanwhile, back at the river, the new township of Horizon — advertised on widely distributed handbills — has sprung up directly across from those three graves. But any sense of security is instantly erased when Pionsenay and Taklishim lead a deadly ambush. Acting against the advice of their father (Gregory Cruz), an elder of the White Mountain Apache tribe who warns of the inevitable cycle of violence, they kill any settlers unable to get to safety and torch structures that have only just been erected.

In the movie’s most visceral sequence, the tribesmen close in on the home of the Kittredge family. Along with a handful of community members who have gone there for shelter, the father, James (Tim Guinee), and teenage son Nate (the director’s son Hayes Costner) try to hold off the attackers while the mother Frances ( Sienna Miller ) and daughter Lizzie (Georgia MacPhail) hide out in a hatch under the floorboards.

Working from a discursive screenplay he co-wrote with Jon Baird, Costner is not at his best as a director with this kind of multi-branched narrative. He struggles to keep all the story’s plates spinning, as characters are sidelined and resurface with too little connective tissue.

It’s almost an hour into the film before Costner appears as Hayes Ellison, a taciturn loner described by one of the Sykes boys as a “saddle tramp.” The role allows Kev to go full Clint, conveying the inner conflict of a troubled man wishing to leave violence behind but skilled enough with a firearm to handle it when provoked. Presumably, the character will reveal more layers and maybe a backstory in Chapter Two.

Hayes is the figure who begins to tie things together when he ambles into a small township and catches the eye of Marigold (Abbey Lee), who turns tricks to get by and babysits for Lucy, now going by Ellen and married to good-natured Walter Childs (Michael Angarano). Marigold is an annoying character — dumb, whiny, opportunistic — and it’s a slight stretch that a man as careworn and solitary as Hayes would be suckered into helping her, putting them both in danger. The unconvincing performance of Lee does nothing to make Marigold more palatable.

Despite the harsh conditions and extreme danger involved in the expansion of the West, wagon trains of new settlers keep coming. Traveling with one of them is military captain Matthew Van Weyden ( Luke Wilson ), who lands the exasperating job of de facto leader, dealing with disputes and ensuring that everyone contributes to the workload. That comes as a surprise to a couple of over-educated but clueless Brits begging to be scalped, Juliette (Ella Hunt) and Hugh (Tom Payne).

Any of these plotlines might have sustained an hour of compelling television but they don’t add up to much in this awkwardly stitched quilt, which rarely provides the space for anyone’s experiences to resonate. That also limits the scope for the actors to breathe much dimensionality into their roles. Dialogue-driven scenes often feel stilted and lifeless; the characters played by Costner, Worthington, Miller and Malone at this point show the most potential.

The subtitle An American Saga and some easy guesswork suggest that as Horizon continues the project will become a broad-canvas picture of frontier life and its challenges, of the constant threat of outlaws and Indigenous attack, and the injustices toward Natives that indelibly stained the soil of the West with blood. Hopefully, it will also acquire some much-needed structure.

For many Western lovers of a certain age, Costner in a form-fitting role will be a reassuring presence. He was never an actor with the broadest range, but always appealing — even when he arrives late, as he does here, and remains on the glum side. Just don’t build up your hopes too much.

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Review: ‘sight’ says we should all try to work miracles for each other.

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In a weekend dominated by summer franchise tentpole releases Furiosa: A Mad Max Saga and The Garfield Movie , director Andrew Hyatt’s true story Sight — based on Dr. Ming Wang’s autobiography From Darkness to Sight , adapted for the screen by cowriters Hyatt, John Duigan, and Buzz McLaughlin — plays as counter-programming for adult viewers look for something down to earth at the box office.

Terry Chen and Greg Kinnear star in "Sight."

I expect Sight to debut to about $2-2.5 million in North America, but it might see a strong hold on Memorial Weekend if older audiences turn out enough for the four-day holiday. From there, the film’s prospects depend on how limited the release is and whether viewers are in the mood for this sort of entertainment at the multiplex.

The truth is, it’s rare for an adult drama to stand out in the summer season, especially if it’s got a limited release, and especially if the appeal is more targeted toward faith-based and older adults. These target demographics will reward in the long run with PVOD and other rentals, since the budget is low enough that box office doesn’t have to do much lifting for ancillary markets and revenue streams to do the rest.

But I suspect most of those who seek Sight — whether you’re a person of some particular religious faith or spirituality, an atheist, an agnostic, or however you believe or don’t believe — will be rewarded with a new perspective into an incredible biography and life’s work that brought vision to so many and changed the world. That’s a statement about Dr. Wang, of course, but it also reflects his personal aspirations and dedication to follow in the footsteps of that faith.

This is easily Hyatt’s best work to date, and cinematographer Michael Balfry — who also photographed the new Avatar: The Last Airbender streaming series, as well as Resident Alien — also does some particularly nice work here. The opening minutes do so much visually to set the tone and sense of place, as well as isolating Dr. Wang.

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Scenes rely on more complex compositions, the camera or its subjects always in motion, until we see Wang in his personal life. Early on, the camera finds him centered in mostly wide shots, surrounded by empty rooms at work, at home, or alone at silent restaurants. As events unfold and his isolation changes, the camera opens up his world and allows him to move through it with increasing ease, while still able to recenter him in moments of doubt and loss.

We’re introduced to Ming Wang as an adult, an acclaimed physician who is presented with a young blind child hoping he can perform a miracle and restore her sight.

The child’s biography and the horrible conditions of her upbringing and blindness compel Wang to recall his own childhood, his own search for a miracle to free him from the darkness closing in on him, that helps him realize he is still short of that goal in his own life. And so begins his search for a way into the light, through bringing light to this child. Her search miracle becomes his own, driving him in hopes he can redeem himself by restoring her sight.

It is in the details of these people’s lives that Sight finds miracles of life and storytelling, because you don’t have to believe the same things as the person in a story to relate to their condition, their humanity, or their search for a greater vision of the world and a way to share that vision with others.

It’s moving, inspiring, and yet also heartbreaking and blunt in confronting the suffering we subject others to in this world merely for being born in the wrong place at the wrong time, and how sometimes we are in a position to perform a miracle for someone else who needs mercy in a world that can often feel devoid of much grace.

Flashbacks tell us of Wang’s early childhood in China during the violence of the Cultural Revolution, witnessing the failures and limitations of medicine when a family friend is blinded by a factory accident. The terrorism of the Maoist extremists is eventually directed upon Wang himself and a girl he loved in their youth, and we see his subsequent immigration to the United States, his medical studies, and a touch of the racism he faced as an immigrant from China.

The story could’ve benefited from a deeper look into those years of his life, as the film’s runtime is only a bit over an hour and a half. But there’s still plenty of meat on the bones in this story, so the montage and occasional scenes work within the larger context.

These past events are all woven into the modern story of Dr. Wang’s work, his loneliness, and his need to save a blind child who reminds him of that girl from his tragic past. His hope of finding some way to let go of that guilt and pain, and how it unfolds in unexpected ways, includes important perspective about how blindness doesn’t mean an inability to understand, to experience, and to imagine beauty.

The film does a good job with this mirroring and realization, and manifest as a comment on the question of whether we think of loss and death as a darkness that makes us afraid of living. There are lessons about forgiving ourselves for those we can’t save and for our failures, and learning not to let the pain of loss make us fear doing what we can to try to help others.

Most importantly, Sight is about how our search for a miracle in our own lives is often fulfilled when we decide to help others find their own miracles. Miracles don’t have to be literal Biblical events, we’re talking metaphorically and about the fact that sometimes the distance between a person and what they need is so great it may as well take a miracle for them to survive. And sometimes we are in a position to perform the miracle that person needs, through a kindness or a larger effort, even a sacrifice of our own. You don’t have to be religious or spiritual to value that advice.

However obvious that might sound, by the time Sight reaches its inevitable conclusion, the emotional impact lands as hard as it should, helped by good framing devices in a compelling true story, and by a terrific cast.

Particularly noteworthy are Sight’s co-lead actors Ben Wang (recently cast as the lead in the next Karate Kid film) and Terry Chen, respectively portraying Ming Wang in flashbacks to his younger days, and later in his career in the U.S. The actors balance a tremendous amount of complicated experiences and traumas, where familial love and devastating grief coexist in shaping Dr. Wang’s life story and driving him toward his destiny in bringing sight to millions of people.

The role of religion and faith is subtle, and it isn’t the message of the film. Rather, it is merely a reflection of how religion entered Ming Wang’s life and the role it played at a crucial moment in his life and his career. It’s presented thoughtfully and works as a lovely moment of convergence that doesn’t overburden the scenes — it’s a powerful but private moment, and it plays that way.

Sight is a good choice for adults seeking a more contemplative and serious experience at the movies, offering a view of important historical moments and modern medical advances through a personal lens of loss and redemption.

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Inside the Legal Battle to Recut Trump Movie ‘The Apprentice’: Why Billionaire Investor Dan Snyder Is Furious With Ex-President’s Portrayal (EXCLUSIVE)

By Tatiana Siegel

Tatiana Siegel

• Screening of Graphic Oct. 7 Hamas Attack Movie Canceled in Cannes Amid ‘Serious Security Risk’ 7 days ago
• Donald Trump Movie ‘The Apprentice’ Ignites Controversy in Cannes Over Rape Scene 1 week ago
• Zoe Saldaña Says Gender Equality Battle in Hollywood Is ‘On Us’: ‘When Women Are in There, Make More Room for Other Women’ 1 week ago

On Monday night, all eyes in Cannes will be on the launch of “ The Apprentice ,” the high-profile drama that stars Sebastian Stan as a young Donald Trump . The filmmakers and stars haven’t done any press on the ground at Cannes ahead of the film’s world premiere, and few have seen it, with plot details shrouded in mystery. 

But one person who has seen it is Dan Snyder, the billionaire former owner of the Washington Commanders who is an investor in “The Apprentice.” And he isn’t happy. 

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Snyder’s attorneys John Brownlee and Stuart Nash, partners at Florida-based firm Holland & Knight, did not respond to a request for comment. A representative for the filmmakers declined comment.

Snyder isn’t the only investor in “The Apprentice.” Justin Trudeau’s Canadian government also put in money, as did the Irish and Danish governments. Kinematics doesn’t own the copyright on the Ali Abbasi-directed film and cannot kill it. (Abbasi is represented by CAA, which was aware of the legal back and forth over the film. The agency and Abbasi declined comment.)

Heading into Cannes, there was intense interest from potential buyers for the film, which is seeking U.S. distribution ahead of the election in November. International sales outfit Rocket Science is shopping the title at the Marche alongside CAA and WME. Complicating matters, Snyder’s Kinematics has a voice in sales negotiations. 

The filmmakers have intentionally eschewed any press, wanting the movie to speak for itself. After all, they’ve endured a long haul to the finish line. In fact, it took seven years for “The Apprentice” to make it to the big screen. One financier dropped out after the events of Jan. 6, 2021, when Trump supporters stormed the Capitol following his defeat in the 2020 presidential election. Another opted not to get involved after Ivana Trump’s death. 

Despite its title, “The Apprentice” doesn’t chronicle Trump’s years as the star of the hit NBC reality show that catapulted him into the Oval Office. The logline provided to press calls the film “a story about the origins of a system … featuring larger-than-life characters and set in a world of power and ambition.” It adds, “The film delves into a profound exploration of the ascent of an American dynasty. It meticulously charts the genesis of a ‘zero-sum’ culture, one that accentuates the dichotomy between winners and losers, the dynamics between the mighty and the vulnerable, and the intricate psychology of persona.” 

It is unclear if Snyder, who is a fixture at the festival where he socializes with other billionaires on his yacht, plans to attend tonight’s premiere alongside the Kinematics team, who will be on hand. He is no stranger to controversy. For years, he ignored calls to change the name of his NFL team, formerly called the Redskins, a term that was offensive to Native Americans. “We’ll never change the name. It’s that simple. NEVER—you can use caps,” he told USA Today in 2013. After initially refusing to meet with Native American advocates about a name change, he relented in 2020, and the team was eventually rebranded the Washington Commanders. 

One thing is for certain, the post-premiere celebrations for “The Apprentice” will be decidedly awkward. 

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