SIGHT AND SOUND
aka "Sight & Sound"
General, Mainstream Monthly Magazine from London ,United Kingdom


- First issue: 1991
- General cinema.
- Took its present form in May 1991 with the incorporation of Monthly Film Bulletin. Prior to that it was published quarterly.
- Half the magazine contains great articles on various topics and the other half has the film reviews for the contemporary releases. I especially like the full synopsis given for every movie: No surprises when you 're watching The Crying Game for the first time.
- Published by the British Film Institute.
- Monthly, 70 colour pages in A4 format.
- Published by British Film Institute (BFI)
- Website: www.bfi.org.uk

Last updated:
2020-12-31

Recent updates


Special thanks for this page goes to:
Garry Malvern
Grace
Scott Matheson
Gary

COVERS FOUND & MISSING
Info from the Database
Highslide JS Listing is complete.
There are 352 issues listed in the database

Info from the Cover Gallery
Covers found: 352
Covers missing: None
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CONTENTS: 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All GALLERIES: 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All

Issue 92
December 1998
With my game face on: There's more to the poker movie Rounders than Matt Damon's stare and director John Dahl's swift atmospheres. It also calls the bluff of America's stonewalling relationship to class. By Shane Danielsen.


Issue 91
November 1998
Pullinh the pin on Hal Hartley: Hal Hartley's sixth movie, Henry FooL is his first to value real emotion over style, argues Ryan Gilbey. Plus London Film Festival highlights: Chris Darke on Radio On (Rernix); Nick James on Bul


Issue 90
October 1998
Blind date: Elmore Leonard's laid back pulp is a hard nut for movie-makers to crack, but Steven Soderbergh's understated Out of Sight succeeds where others fail, argues Peter Matthews. Plus Screenwriter Scott Frank talks to Le


Issue 89
September 1998
American Voyeur: Velvet Goldmine is a kaleidoscopic glam-rock fantasia that celebrates artifice and blurs boundaries. Director Todd Haynes talks to Nick James about Oscar Wilde and working class heroes. Plus Mark Sinker traces


Issue 88
August 1998
Bubble Boy: The Truman Show, Peter Weir's satire of a life lived on television starring Jim Carrey, has been feted in the US for its cleverness. But how clever is it?
Medium Cool: Is the "


Issue 87
July 1998
FONT COLOR='#ff0000'>Lucifer Rising: The Exorcist is probably the scariest mainstream movie ever made. As it is re-released, Mark Kermode takes an exclusive look at unseen out-takes and talks to all the key participants.
M


Issue 86
June 1998
Chemical Warfare: Terry Gilliam's Fear and Loathing in Las Vegas turns Hunter S. Thompson's gonzo journalism into a manic drugs-and-desperation saga. Bob McCabe talks to the director about shooting fast and cheap.


Issue 85
May 1998
Saint Nick: Why is Nick Nolte Oliver Stone's, Paul Schrader's and Alan Rudolph's favourite troubled man? Geoffrey Macnab considers the last of the complex tough guys.
X for 'X' films: What the


Issue 84
April 1998
Absolute precision: With Live Flesh, Pedro Almodovar takes a Ruth Rendell crime novel apart and welds it back together with politics, passion and elegance. By Paul Julian Smith.
Scuzzballs like us


Issue 83
March 1998
The mouth and the method: Quentin Tarantino's Jackie Brown brings together blaxploitation and Elmore Leonard pulp. He explains why he's a 'method writer' and why he's not afraid to use the 'N' word. Intrview by Erik Bauer.


Issue 82
February 1998
The road not taken: Martin Scorsese's life of the Dalai Lama, Kundun, has upset the Chinese government and put its distributor in an awkward fix. Amy Taubin talks to the director about rage, form and the beauty of passivity.


Issue 81
January 1998
Night Fever: Boogie Nights examines the well- endowed and the self-deluded in the 70s porn industry. Director Paul Thomas Anderson talks to Gavin Smith about his fascination with hardcore's performers.