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Lillian Crawford

Tomatometer-approved critic
Biography:

Lillian Crawford (she/her) is a freelance film and culture writer for publications including Little White Lies, Sight & Sound, Empire, GQ, Curzon, MUBI, Plinth, MASSIVE, and BBC Culture. She is a contributing writer to Girls on Tops, a regular host of the Autism Through Cinema podcast, and runs the blog and podcast Listen to Lillian about queer and female representation in British cinema.

Reviews

Movies TV Shows
Nuremberg (2025) 72% 2/5 EDIT “James Vanderbilt tackles the trial that brought down one of the Third Reich’s architects as he attempts a well-intentioned but superficial attack on the current rise of American fascism.” – Little White Lies Nov 14, 2025 Full Review Leave the World Behind (2023) 73% 2/5 EDIT “The tension is breathless and well-constructed, but since they begin with the dial at eleven, there is nowhere to go throughout the film’s exhausting 140 minutes.” – Empire Magazine Mar 15, 2024 Full Review The Holdovers (2023) 97% 4/5 EDIT “The benefit of the Yuletide setting is that Payne has gifted us a film intended to be watched every year. It feels like finding an unwatched classic under the tree on Christmas morning.” – Little White Lies Jan 16, 2024 Full Review The Lesson (2023) 77% 3/5 EDIT “McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.” – Empire Magazine Dec 12, 2023 Full Review Love Again (2023) 30% 3/5 EDIT “Love Again, believe it or not, mirrors the opera [Orpheus And Eurydice] beautifully. ” – Empire Magazine Dec 12, 2023 Full Review Eileen (2023) 81% EDIT “A claustrophobic stand-off that constantly feels fit to burst. With the film tightly clipped to 98 minutes, it’s a scintillating experience.” – Flicks (AU, NZ, UK) Dec 8, 2023 Full Review Doctor Jekyll (2023) 41% 3/5 EDIT “It’s more Carry On Screaming than serious horror, but its play with gender in a well-worn story breathes new life.” – Little White Lies Oct 25, 2023 Full Review TAYLOR SWIFT | THE ERAS TOUR (2023) 98% 5/5 EDIT “Better than a Swiftie’s wildest dreams.” – Little White Lies Oct 16, 2023 Full Review La Syndicaliste (2022) 80% 2/5 EDIT “Salomé is not an imaginative director, apparently content to sit back and watch Huppert command the film with little regard for the rest of his cast and crew. ” – Little White Lies Jun 29, 2023 Full Review Pretty Red Dress (2022) 85% EDIT “For all its flaws, Pretty Red Dress is a promising feature debut from Edwards, who with a clearer sense of vision can clearly weave together complex themes without losing their nuance.” – Flicks (AU, NZ, UK) Jun 20, 2023 Full Review Greatest Days (2023) 77% 1/5 EDIT “I think I finally understand the lyrics to the song ‘Patience’. I need time.” – Little White Lies Jun 15, 2023 Full Review Brainwashed: Sex-Camera-Power (2022) 69% 2/5 EDIT “Menkes’ accusations against other women directors border on misogyny.” – Little White Lies May 10, 2023 Full Review The Three Musketeers: Part I - D'Artagnan (2023) 98% 4/5 EDIT “Dumas’s classic novel finally gets an epic adaptation worthy of its scope, rendered in delicious French by its dangerously sexy cast.” – Empire Magazine Apr 26, 2023 Full Review Electric Malady (2022) 83% 3/5 EDIT “There’s something disturbing about depicting a medical condition through the tropes of the horror genre. But Marie Lidén gives William a voice where others might be dismissive, and even hope.” – Empire Magazine Mar 3, 2023 Full Review Creature (2022) 90% 4/5 EDIT “An immersive implosion of artistic forms out of which a new monster is born.” – Little White Lies Feb 21, 2023 Full Review Women Talking (2022) 90% 5/5 EDIT “Experiment enters the mainstream to create a new feminist cinema.” – Little White Lies Feb 9, 2023 Full Review Corsage (2022) 85% EDIT “A majestic blueprint for modern historical drama.” – Flicks (AU, NZ, UK) Feb 9, 2023 Full Review Saint Omer (2022) 95% 5/5 EDIT “Alice Diop’s documentarian approach to the courtroom drama is fresh and urgent, consistently commanding attention to the women as they speak and listen. ” – Empire Magazine Feb 6, 2023 Full Review Enys Men (2022) 79% EDIT “There’s an hallucinatory quality to Enys Men which comes from its stark divorce from civilisation and the conventions of contemporary cinema.” – Flicks (AU, NZ, UK) Jan 22, 2023 Full Review She Will (2021) 85% EDIT “Simmering away beneath the conventional surface are well-meaning but clunkily handled themes of misogyny and embedded female trauma” – Flicks (AU, NZ, UK) Oct 19, 2022 Full Review Emily (2022) 87% 2/5 EDIT “If O’Connor’s aim was to recreate a British classic, she has surely failed to reach those lofty heights. Mackey shows further signs of promise, but she’ll be better off elsewhere.” – Empire Magazine Oct 11, 2022 Full Review Donna (2022) 71% 4/5 EDIT “Jay Bedwani uses his experience in San Francisco’s queer community to craft a moving portrait of Donna Personna’s life, while also shedding light on a watershed moment in queer history.” – Empire Magazine Jul 15, 2022 Full Review Bergman Island (2021) 84% 5/5 EDIT “A meditation on modern relationships that hilariously deconstructs the canonisation of Ingmar Bergman.” – Little White Lies May 30, 2022 Full Review We're All Going to the World's Fair (2021) 91% 4/5 EDIT “Plays a little too well to modern anxieties for comfort.” – Little White Lies Apr 25, 2022 Full Review Great Freedom (2021) 97% 4/5 EDIT “A spiraling, repetitive film that uses its structure to drive home a powerful queer narrative.” – Little White Lies Mar 9, 2022 Full Review
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