From the Sight and Sound archive
“An alien vision of an alien world”: Rocky reviewed in 1977
As both the 4K restoration of Rocky (1976) and the new biopic I Play Rocky hit cinemas, we return to our original review of the picture that made Sylvester Stallone a star.
From the Sight and Sound archive
Kiss kiss bang bang: Baz Luhrmann’s Romeo + Juliet
Kiss kiss bang bang: Baz Luhrmann’s Romeo + JulietFrom the Sight and Sound archive
Portrait of a lady: Sofia Coppola’s Marie Antoinette
Portrait of a lady: Sofia Coppola’s Marie AntoinetteFrom the Sight and Sound archive
Whose side are you on?: Harlan County U.S.A. reviewed in 1978
Whose side are you on?: Harlan County U.S.A. reviewed in 1978From the Sight and Sound archive
“You can show a range of emotion that you don’t usually get in the cinema”: Derek Jarman on Edward II
“You can show a range of emotion that you don’t usually get in the cinema”: Derek Jarman on Edward IIFrom the Sight and Sound archive
“My one political film”: Ken Russell on The Devils
“My one political film”: Ken Russell on The DevilsFrom the Sight and Sound archive
“It comes out of an anger about the way things are”: Martin Scorsese on The Departed
“It comes out of an anger about the way things are”: Martin Scorsese on The DepartedFrom the Sight and Sound archive
On Bresson: Olivier Assayas, Paul Schrader, Aki Kaurismäki and more discuss the French director
On Bresson: Olivier Assayas, Paul Schrader, Aki Kaurismäki and more discuss the French directorFrom the Sight and Sound archive
The making of a super-producer: Jeremy Thomas interviewed in 2014
The making of a super-producer: Jeremy Thomas interviewed in 2014From the Sight and Sound archive
The discreet murderer of the bourgeoisie: an interview with Claude Chabrol
By Rui Nogueira and Nicoletta Zalaffi
From the Sight and Sound archive
“He is the blockbuster given human form”: J. Hoberman on Arnold Schwarzenegger
“He is the blockbuster given human form”: J. Hoberman on Arnold SchwarzeneggerFrom the Sight and Sound archive
“We wanted the film to have a vibrancy, to be larger than life”: Danny Boyle on Trainspotting
“We wanted the film to have a vibrancy, to be larger than life”: Danny Boyle on TrainspottingFrom the Sight and Sound archive
Of monsters and men: Peter Wollen on Jurassic Park
Of monsters and men: Peter Wollen on Jurassic ParkFrom the Sight and Sound archive
Darkest hour: the first ever film of a solar eclipse
Darkest hour: the first ever film of a solar eclipseFrom the Sight and Sound archive
“It earns every hair it stiffens”: Alejandro Amenábar’s The Others
“It earns every hair it stiffens”: Alejandro Amenábar’s The OthersFrom the Sight and Sound archive
“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei Tarkovsky
“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei TarkovskyFrom the Sight and Sound archive
Gods and monsters: Spirited Away reviewed in 2003
Gods and monsters: Spirited Away reviewed in 2003From the Sight and Sound archive
The misfits of Zwigoff: a visit to the set of Ghost World
The misfits of Zwigoff: a visit to the set of Ghost WorldFrom the Sight and Sound archive
Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer Day
Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer DayFrom the Sight and Sound archive
God’s lonely man: Amy Taubin on Taxi Driver
God’s lonely man: Amy Taubin on Taxi DriverFrom the Sight and Sound archive
Don’t try this at home: Jackass: The Movie reviewed in 2003
Don’t try this at home: Jackass: The Movie reviewed in 2003From the Sight and Sound archive
Death becomes Visconti
Death becomes ViscontiFrom the Sight and Sound archive
A close encounter with Steven Spielberg
A close encounter with Steven SpielbergFrom the Sight and Sound archive
A “lethally perfumed neo-noir”: David Lynch’s Mulholland Dr.
A “lethally perfumed neo-noir”: David Lynch’s Mulholland Dr.From the Sight and Sound archive
Blonde ambition: Legally Blonde reviewed in 2001
Blonde ambition: Legally Blonde reviewed in 2001From the Sight and Sound archive
Beauties and the beast: Lina Wertmüller’s Seven Beauties and Martin Scorsese’s Taxi Driver
By Colin L. Westerbeck Jr.
From the Sight and Sound archive
Italian auteurs and American upstarts: the Cannes Film Festival in 1976
Italian auteurs and American upstarts: the Cannes Film Festival in 1976From the Sight and Sound archive
“A film of marvels if not quite a marvellous film”: Shrek reviewed in 2001
“A film of marvels if not quite a marvellous film”: Shrek reviewed in 2001From the Sight and Sound archive
“I make a daily effort to demolish my ignorance”: Roberto Rossellini interviewed in 1976
“I make a daily effort to demolish my ignorance”: Roberto Rossellini interviewed in 1976From the Sight and Sound archive
“A story marshalled with dazzling skill and precision”: All the President’s Men reviewed in 1976
“A story marshalled with dazzling skill and precision”: All the President’s Men reviewed in 1976