From the Sight and Sound archive
Marital arts: Pride & Prejudice reviewed in 2005
One of a spate of early noughties Jane Austen adaptations, Pride & Prejudice impressed our critic with fine casting and evocative cinematography and production design.
From the Sight and Sound archive
Julie Christie, the honey-glow girl
Julie Christie, the honey-glow girlFrom the Sight and Sound archive
Muriel’s Wedding: the greatest film of all time?
Muriel’s Wedding: the greatest film of all time?From the Sight and Sound archive
Build my gallows high: Joshua Oppenheimer on The Act of Killing
Build my gallows high: Joshua Oppenheimer on The Act of KillingFrom the Sight and Sound archive
Learning to scream: Linda Williams on Psycho
Learning to scream: Linda Williams on PsychoFrom the Sight and Sound archive
Erin Brockovich, a law unto herself
Erin Brockovich, a law unto herselfFrom the Sight and Sound archive
Souleymane Cissé’s Yeelen reviewed in 1988
Souleymane Cissé’s Yeelen reviewed in 1988From the Sight and Sound archive
The sprawling brilliance of Robert Altman’s Nashville
The sprawling brilliance of Robert Altman’s NashvilleFrom the Sight and Sound archive
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001 From the Sight and Sound archive
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974From the Sight and Sound archive
“The film’s charm lies in the balance between poetry and the everyday”: Before Sunrise reviewed in 1995
“The film’s charm lies in the balance between poetry and the everyday”: Before Sunrise reviewed in 1995From the Sight and Sound archive
Chantal Akerman: a primer
By Cristina Álvarez López and Adrian Martin
From the Sight and Sound archive
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not There
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not ThereFrom the Sight and Sound archive
Viola Davis: over the fences
Viola Davis: over the fencesFrom the Sight and Sound archive
New York letter: Towards a spontaneous cinema
New York letter: Towards a spontaneous cinemaFrom the Sight and Sound archive
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s LunchFrom the Sight and Sound archive
The Lubitsch touch in The Shop Around the Corner
The Lubitsch touch in The Shop Around the CornerFrom the Sight and Sound archive
“A glimpse of perfection in an imperfect world”: The Umbrellas of Cherbourg reviewed in February 1965
“A glimpse of perfection in an imperfect world”: The Umbrellas of Cherbourg reviewed in February 1965From the Sight and Sound archive
“Magnificently produced pantomime”: The Wizard of Oz reviewed in 1940
“Magnificently produced pantomime”: The Wizard of Oz reviewed in 1940From the Sight and Sound archive
Alien encounter: on the set of Ridley Scott’s sci-fi horror
Alien encounter: on the set of Ridley Scott’s sci-fi horrorFrom the Sight and Sound archive
“An orgy of physical bravado”: Point Break reviewed in 1991
“An orgy of physical bravado”: Point Break reviewed in 1991From the Sight and Sound archive
‘Trash’ movies, the refuse of mainstream cinema
‘Trash’ movies, the refuse of mainstream cinemaFrom the Sight and Sound archive
Everyone’s entitled to one good scare: Halloween reviewed in 1979
Everyone’s entitled to one good scare: Halloween reviewed in 1979From the Sight and Sound archive
The jezebel swagger of Miriam Hopkins
The jezebel swagger of Miriam HopkinsFrom the Sight and Sound archive
A year with Andrei
A year with AndreiFrom the Sight and Sound archive
Authentic talking cinema: the history of documentary
Authentic talking cinema: the history of documentaryFrom the Sight and Sound archive
The edge of the razor: Catherine Breillat on Romance
By Leslie Felperin and Linda Ruth Williams
From the Sight and Sound archive
Bertolt Brecht: an address to Danish worker actors on the art of observation
Bertolt Brecht: an address to Danish worker actors on the art of observationFrom the Sight and Sound archive
The ending of The Ballad of Narayama
The ending of The Ballad of NarayamaFrom the Sight and Sound archive
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma Vep
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma Vep