All Sight and Sound articles

Reviews

A. Rimbaud: Patrick Wang’s wildly unconventional biopic of the 19th century poet

Patrick Wang’s richly experimental film about the French poet Arthur Rimbaud stars just one actor telling his life story to a series of musical instruments. The result is extraordinary.

By Philip Concannon

A. Rimbaud: Patrick Wang’s wildly unconventional biopic of the 19th century poet

From the Sight and Sound archive

“We wanted the film to have a vibrancy, to be larger than life”: Danny Boyle on Trainspotting

By Geoffrey Macnab

“We wanted the film to have a vibrancy, to be larger than life”: Danny Boyle on Trainspotting

Lists

Shooting outside the box: William Greaves in ten films

By Matthew Barrington

Shooting outside the box: William Greaves in ten films

Reviews

The End of Oak Street: gripping dino survival film feels Spielbergian but plays against expectations

By Kim Newman

The End of Oak Street: gripping dino survival film feels Spielbergian but plays against expectations

From the Sight and Sound archive

Of monsters and men: Peter Wollen on Jurassic Park

By Peter Wollen

Of monsters and men: Peter Wollen on Jurassic Park

Reviews

Coyote vs. Acme: Toon courtroom drama is one of the smartest critiques of US politics in years

By Catherine Wheatley

Coyote vs. Acme: Toon courtroom drama is one of the smartest critiques of US politics in years

Reviews

Lady: oddball mockumentary about a narcissistic aristocrat is strangely moving

By Gayle Sequeira

Lady: oddball mockumentary about a narcissistic aristocrat is strangely moving

From the Sight and Sound archive

Darkest hour: the first ever film of a solar eclipse

By Bryony Dixon

Darkest hour: the first ever film of a solar eclipse

From the Sight and Sound archive

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others

By Nick James

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others

Reviews

Ice Cream Man: sweet treats turn sour in Eli Roth’s gory story of evil kids attacking adults

By Kim Newman

Ice Cream Man: sweet treats turn sour in Eli Roth’s gory story of evil kids attacking adults

Reviews

Spider-Man: Brand New Day: An underwhelming spidey spectacle

By Adam Nayman

Spider-Man: Brand New Day: An underwhelming spidey spectacle

Reviews

Animal Farm: Cutesy adaptation of George Orwell’s text falls flat

By Leigh Singer

Animal Farm: Cutesy adaptation of George Orwell’s text falls flat

News

Sight and Sound: the September 2026 issue

From the Sight and Sound archive

“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei Tarkovsky

By Michal Leszczylowski

“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei Tarkovsky

Reviews

A Child of My Own: Maite Alberdi’s tricksy documentary about a woman who stole a newborn paints moral grey areas with shades of pink

By Katie McCabe

A Child of My Own: Maite Alberdi’s tricksy documentary about a woman who stole a newborn paints moral grey areas with shades of pink

Reviews

Bouchra: a striking animation about identity, connection and creativity

By Blake Simons

Bouchra: a striking animation about identity, connection and creativity

Reviews

“A small masterpiece of cinematic storytelling”: Chicken Run reviewed in 2000

By Kim Newman

“A small masterpiece of cinematic storytelling”: Chicken Run reviewed in 2000

Reviews

Ish: Imran Perretta’s remarkably beautiful film captures the brutal challenges of adolescence

By Jonathan Romney

Ish: Imran Perretta’s remarkably beautiful film captures the brutal challenges of adolescence

Reviews

On the Sea: Two fishermen explore their desires in Helen Walsh’s sensitive drama

By Alex Davidson

On the Sea: Two fishermen explore their desires in Helen Walsh’s sensitive drama

From the Sight and Sound archive

Gods and monsters: Spirited Away reviewed in 2003

By Andrew Osmond

Gods and monsters: Spirited Away reviewed in 2003

From the Sight and Sound archive

The misfits of Zwigoff: a visit to the set of Ghost World

By SF Said

The misfits of Zwigoff: a visit to the set of Ghost World

Reviews

Mare’s Nest: Ben Rivers has produced his most hopeful film to date

By Joseph Fahim

Mare’s Nest: Ben Rivers has produced his most hopeful film to date

Reviews

Synthetic Sincerity: Marc Isaacs’ thoughtful exploration of AI asks what makes an image feel real

By Nick Bradshaw

Synthetic Sincerity: Marc Isaacs’ thoughtful exploration of AI asks what makes an image feel real

Features

“He rendered the foreign familiar without ever stripping it of its soul”: Wong Kar Wai, Bong Joon Ho and more on Tony Rayns

By Bong Joon Ho, Wong Kar Wai and others

“He rendered the foreign familiar without ever stripping it of its soul”: Wong Kar Wai, Bong Joon Ho and more on Tony Rayns

Reviews

Evil Dead Burn: the franchise returns with fire, fury and family dysfunction

By Anton Bitel

Evil Dead Burn: the franchise returns with fire, fury and family dysfunction

From the Sight and Sound archive

Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer Day

By Tony Rayns

Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer Day

Reviews

The Last One for the Road: a leisurely Beckettian bender through northeastern Italy

By Philip Concannon

The Last One for the Road: a leisurely Beckettian bender through northeastern Italy

Reviews

Shoot the People: Misan Harriman documentary questions the power and purpose of protest imagery

By Leila Latif

Shoot the People: Misan Harriman documentary questions the power and purpose of protest imagery

From the Sight and Sound archive

God’s lonely man: Amy Taubin on Taxi Driver

By Amy Taubin

God’s lonely man: Amy Taubin on Taxi Driver

Reviews

Supergirl: Milly Alcock carries this movie on her cape

By Kim Newman

Supergirl: Milly Alcock carries this movie on her cape