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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:
31 October 2019

Recent updates


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

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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 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 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.
The accidental tourist: Alain Resnais, veteran New Wave alumnus, talks to Patrick Duynslaegher about his hit film On connait la chanson, Dennis Potter and how he gets more mail than Jean-Paul Belmondo.
Never say die: With its spectacular vision of heaven and hell, What Dreams May Come offers us Dante Lite. Director Vincent Ward talks about his visual sources, Kim Newman looks at the story behind the story and Edward Lawrenson visits other filmic heavens.
Show me the culture!: Everyone wants to make movies now; the government is backing them; ticket sales are up. So why are so few films truly independent or have anything interesting to say, asks Nick Roddick.
Everyday vampires: Getting over his envy that the makers of television's Ultraviolet have gazumped him in producing a British sci-fi series to rival The XFiles, screenwriter David Pine reveals the secrets of its success.
The indiscreet charm of Jeanne Moreau: Jeanne Moreau epitomises the sophisticated cool and erotic power of the feminine in post-war French cinema. Ginette Vincendeau assesses herlegacy.
Rushes: Can FilmFour keep it up, Roger Corman in India; Happiness is its own reward; Bollitfs Peter Yates onDVD.
Television: Channel 4's home run; Stephen Lawrence docu drama; news you can use.
Letters: In praise of older critics; Mamet mis cited; script vetting.
Film Reviews: Angel Sharks!/Marie baie des anges, Antz, Dancing at Lughnasa, Dead Man's Curve, The Eel/Unagi, Funny Games, If Only/Lluvia en los zapatos, Insomnia, The Knowledge of Healing/Das Wissen vom Heilen, The Mask of Zorro, Les Mis?rables, A Moment of Innocence/Noon va Goldoon, The Negotiator, The Odd Couple II, On connait Ia chanson/Same Old Song, Out of Sight, The Parent Trap, Razor Blade Smile, Ronin, Rounders, Rush Hour, Slums of Beverly Hills, Theremin An Electronic Odyssey, Thursday, Twilight. Victory, Year of the Horse, Neil Young and Crazy Horse Live.
Video Reviews: Tom Tunney and Geoffrey Macnab on this month's video releases.
Private view: Lee Evans on his comedy heroes.


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 Bullet Ballet Sheila Johnston on After Life; Andy Medhurst on The Opposite of Sex, Jonathan Romney on Eternity and a Day.
Dreaming of Vigo: Jean Vigo lived fast, died young and left behind an exquisite body of films. Michael Temple examines the myth of French cinema's cin?aste rnaudit, the director of L'Atalante and Zero de conduite.
Every fuckin' choise stinks: Ken Loach is the most often cited influence on young British film-makers. In all his films, from Kes to his new My Name Is Joe, the route to politics is found through melodrama. By John Hill.
Criuse control: William Friedkin's 2979 thriller Cruising, set among Greenwich Village's gay bars, is ripe for reassessment. Mark Kermode talks to the director, and Paul Burston investigates its changing reputation.
A hungry eye: Artemisia, a new film about a woman Renaissance artist Artemisia Gentileschi, caused a row in the US because of its distortion of the facts. Does it matter if films about art don't iimitate life, asks Griselda Pollock.
Books special: In 'You Ain't Heard Nothin' Yet' Andrew Sarris gives his auteurist view of Hollywood history. You've got to admire a guy who's seen this many movies, says Peter Wollen. Plus our quarterly round-up of the latest books.
Rushes: Von Stroheim's The Wedding March restored; critics on the move; Venice notes.
Television: why kids equal cash; the rise of the serial; the return of Miss World.
Letters: DVD revisited; hands off Kurosawa; rep in the multiplexes.
Film Reviews: Air Bud, The Assignment, Blade, The Boys, Cube, Deep Rising, The Disappearance of Finbar, Elizabeth, Fear and Loathing in Las Vegas, For Richer or Poorer, Girls Town, The Governess, Halloween H20 20 Years Later, Hamam/Hamam II bagno turco, Henry Fool, Hope Floatsm I Want You, Left Luggage, Loved, Marquise, My Name Is Joe, The Proposition, Rien ne va plus, Snake Eyes, Still Crazy, Velvet Goldmine, La Vie r?v?e des anges.
Video Reviews: Tom Tunney and Geoffrey Macnab on this month's video releases.
Private view: Ken Annakin on his Battle of the Bulge and his contribution to The Longest Day.


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 Leslie Felperin.
The Man who would be Christ: Andrzej Zulawski is known in Britain for only one film - Possession - but his extraordinary Polish and French works are the essence of cinema, argues David Thompson.
Managing the mini boom: Has the British confidence bubble burst before the mini studios are even up and running? Geoffrey Macnab talks to four key figures influencing the industry's future.
Suspicion: David Mamet swaps America's mean streets for Edwardian England in The Winslow Boy. Nick James visits the set and asks the director about tough talk and Terence Rattigan.
Mud in your eye: Kuhle Wampe was Bertolt Brecht's response to what he called the 'miserable botch-up' of his The Threepenny Opera. Philip Kemp examines Brecht's troubled relationship with cinema.
How low can you go?: Why is humiliation comedy so successful? As the Farrelly brothers' There's Something about Mary garners high praise for low laughs, Paul Spinrad surveys the genre from Aristophanes to Dumb & Dumber.
Obituary: Akira Kurosawa.
Rushes: Peter Greenaway and the numbers' game; Jonathan Romney endures Fred Kelemen's long winter; war films from Locarno.
Television: Tony Garnett's The Cops; Victoria Wood's Dinner Ladies;Elisabeth Murdoch's blueprint for British television.
Letters: a gayer glam; what's in the attic; in praise of world cinema.
Film Reviews: April Story/Shtgatsu Monogatars, The Avengers, Buffalo'66, Caresses/Caricies, Shigatsu Monogatari/April Story, Sixth Happiness, Small Soldiers, Soldier's Daughter Never Cries, There's Something about Mary, The Truman Show, UnŠut, Woo, Your Friends & Neighbors.
Video Reviews: Tom Tunney and Geoffrey Macnab on this month's video releases.
Private view: Camille Paglia on glamour and nature in Alfred Hitchcock's The Birds.


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 glam's roots in Mod culture and Hammer horror.
Electra takes a train: What goes through a novice assassin's head? Jonathan Romney salutes Jacques Rivette's Greek tragedy for the 90s, Secret defense.
Alan Clarke: In it for life: From the skinheads of Made in Britain to the soldiers of Contact, Alan Clarke gave British TV its most disturbing images of our culture. Howard Schuman pays tribute.
A rage in Harlesden: Stuart Hall celebrates Babymothetc a vibrant dancehall musical cum melodrama that gives girl power a new twist.
Genius is just a word: Julien Duvivier, director of Pepe le Moko, was a master of European noir and psychological realism. Lenny Borger reapprasses his career.
Editorial: New worlds, old problems.
Rushes: Ken Loach in America; Jiri Menzel's big stick; Adrian Searle on film in the galleries.
Television: Revamping the BBC; wooing German youth; the war Thatcher refused to fight.
Letters: Eisenstein's video nasty; The Kingdom DVD versus laserdisc.
Film Reviews: At no Akuma/Love Is the Devil Study for a Portrait of Francis Bacon, All the Little Animals, Armageddon, Babymother, Le Bossu/On Guard!, Character/Karakter, Cousin Bette, Hands/Ladoni, The Horse Whisperer, The Land Girls, The Last Days of Disco, Lethal Weapon 4, Life of Jesus, The/La Vie de Jesus, Lock, Stock and Two Smoking Barrels, Men with Guns, Mr. Nice Guy/Yige Hay Ren, The Nephew, Paulie, Saving Private Ryan, The Spanish Prisoner, Species II, The X Files, Zero Effect.
Video Reviews: Tom Tunney and Geoffrey Macnab on this month's video releases,
Private view: Director John Hillcnat on Jacques Audtard's See How They Pall.


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 "British renaissance" mere hype or is there a new energy and nerve in UK production? Sight and Sound asks seven film-makers what working in Britain is like for them
Gleaning the tube: Hollywood film-makers keep revisiting their childhood by cannibalising small-screen 60s hits. Will The X Files outstrip Star Trek's empire ?
Bollywood in Britain: The Bombay hit factory is looking to Europe, with films now being set and shot there. Heather Tyrrell follows the glitter trail from Scotland to the London suburbs
Books special: When Bruce Willis says he doesn't care about the printed word and Truffaut asks what critics dream about, Amy Taubin wonders if dinosaurs are even capable of dreaming. Plus the quarterly round-up of the latest books.
Rushes: Edinburgh Film Festival; DiCaprio's American Psycho; Jonathan Romney on a Russian James Joyce
Television: Soap's last rites; Snow rises on 4; life after the World Cup
Letters: DVD-update; foreign films on Merseyside; who created Doctor Who?
Film reviews: The Brylcreem Boys, The Castle, "Chubby" Down Under and Other Sticky Regions, Dance of the Wind, The Daytrippers, Dr. Dolittle, Eve's Bayou, Firelight, Gadjo Dilo, Gang Related, The Gingerbread Man, Godzilla Going All the Way, Hana-Bi, Hotel de Love, The Kingdom (series II)/Riget II, Das Leben ist eine Baustelle ( Life Is All You Get), Lost in Space, The Magic Sword Quest for Camelot, Metroland, Monk Dawson, Palmetto, Six Days Seven Nights, To Have & to Hold, Vor/The Thief, The War at Home.
Video Reviews: Tom Tunney and Geoffrey Macnnab on this month's video releases
Private view: Director Bob Rafelson recalls working on The Postman Always Rings Twice


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.
Magnificent Misanthropes: Purists, sceptics and absurdists all had their day at this year's Cannes. Nick James and Jonathan Romney give their rundown of the good, the bad and the intriguing.
The President and the image: Mike Nichols' Primary Colors turns the novel's satire of Clinton into covert approbation. Stella Bruzzi sees it as the latest attempt to fill the Clinton void with make-believe.
Gojira, Mon Amour: Godzilla is back, this time rampaging through New York. But is he the real thing? Ken Hollings looks back over the lizard king's long, distinguished and destructive career.
The big tease: Trailers cannibalise their parent movies for maximum immediate impact. Andy Medhurst unpicks the only kind of advertising we go out of our way to experience.
Z for Zoetrope: From pre-cinema devices to 3-D imaging, Brian Winston describes the key moving-image technologies, in the last of the A-Z series.
The Deal: Credit wars on Fear and Loathing, conspiracy at Cannes.
Television: Ally McBeal; Rex the Runt; sitcom pilot error.
Letters: Naive Britain; DVD attention; 360 comeback.
Film reviews: Barrey's Great Adventure, Blues Brothers 2000, City of Angels, Dad Savage, Deep Impact, Dream with the Fishes, Girls' Night, Guru in Seven, Guy, Journey to the Beginning of the World/Viagem ao principio do mundo/Voyage au debut du Monde, Kiss or Kill, Kurt & Courtney, Love and Death on Long Island, Mad City, Mimic, Mojo, Mr. Magoo, The Object of My Affection, Ponette, Savior, The Scarlet Tunic, Sling Blade, Soul Food, Stiff Upper Lips, A Thousand Acres, The Wedding Singer, Wild Things.
Video Reviews: This month's video releases.
Private view: Director Roger Goldby on Trees Lounge.


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.
Return to zero: With The General, his new Dublin gangster film, John Boorman returns to his black-and-white, quasi- documentary roots. Philip Kemp talks to him about colour, myth and Lee Marvin in Point Blank.
As I lay Dying: David Thomson ponders the avenging angel that is Lee Marvin's Walker in John Boorman's Point Blank. Is he just the incarnate wish of a dead man?
The Bulb's got to Blow: After Mrs. Parker and the Vicious Circle Alan Rudolph was "greylisted". But his new Afterglow is a return to form, defiantly a "movie about people," argues John Wrathall.
Kiarostami's Uncertainty Principle: More avant-garde than art-house, Iranian director Abbas Kiarostami's Cannes-winner A Taste of Cherry is rigorous, beautiful and designed to puzzle.
Y for Youth: Mark Sinker picks the pin-ups in movies of all ages, from Marry Pickford to Leonardo DiCaprio.
The deal: French letters; Kubrick cranks again; Cameron bullied.
Television: Invasion: Earth; back to nature; cable violence.
Letters: 'Lolita' and lust; Fuller figures; 'War' wounds.
Film reviews: Afterglow, The Apostle, The Big Swap, Body Count, Dark City, The General, Girl With Brains in Her Feet, Gravesend, Hurricane Streets, The James Gang, Killer Tongue/La Lengua Asesina, The Last Time I Committed Suicide, Liar, The Man Who Knew Too Little, Most Wanted, Nowhere, The Real Blonde, Red Corner, The Replacement Killers, Sliding Doors, Star Kid, A Taste of Cherry/Ta'ame-gilas, Touch, U.S. Marshals, Washington Square, Wishmaster.
Privare view: Screenwriter Jo Hodges on discovering Lindsay Anderson.


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 notorious 'X' certificate (and other classifications) meant for controversial films from Battleship Potankin to Teenage Mutant Ninja Turtles 2.
Books special: Michael Eaton celebrates the streetwise attitude of James Cagney Plus, the quarterly round-up of the latest books.
The discreet harm of bourgeoisie: Michael Haneke's chilling Funny Games provokes the strongest audience reactions. Richard Falcon talks to the director about violence and the power of art.
The censor and the state: Exclusive: how the impounding of two hardcore porn videos led to a change at the top for Britain's key filn and video censors. By Julian Petley and Mark Kermode.
Humbert's Humbert: At last Adrian Lyne's Lolita has caused the controversy its star Jeremy Irons says he always wanted. Nick James talks to him about the problems of playing Nabokov's nympholept.
The deal: Ray Cooney goes to Hungary; James Cameron gets rich; Tony Blair and Bertolucci.
Television: One-man comedy rules; a year of C5 ; adult animation.
Letters: Women directors; editing; The Butcer Boy; John Lardis.
Film reviews: Amy Foster, Anastasia, The Big Lebowski, Carne Tremula/Live Flesh/ En chair et en os, Chunguang Zhaxie/Happy Together, Deconstructing Harry, Double Team, Great Expectations, The Hanging Garden, Hard Rain, Hey Cousin!/Salut Cousin!, Lolita, Martha-Meet Frank, Daniel and Laurence, My Son the Fanatic, Scream 2, Shall We Dance?, Something to Believe In, The Twilight of the Ice Nymphs, U Turn, Western, Wild Man Blues.
Private view: Mark Rydell remembers directing John Wayne on The Cowboys.


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: Woody Allen in the documentary Wild Man Blues is self-obsessed and misanthropic. So is the fictional Allen in Deconstructing Harry. Jonahan Romney wonders if either one is 'real'.
Returning to zero: Aleksandr Sokurov's elegiac Mother and Son comes highly praised by Paul Schrader, Nick Cave and Susan Sontag. lan Christie describes the strange career that led to this noment of triumph.
Riff-raff realism: Combining realism with excess and fantasy, 'spiv' films of the 40s, such as Odd Man Out, The Third Man and They Made Me a Fugitive, offer a rich inheritance for British cinema, argues Peter Wollen.
Moonshine maverick: Harrmony Korine wrote kids, is 23 years old, and his directorial debut Gummo has been labelled 'repellent' by US critics. Geoffrey Macnab talks to him about dysfunctional teens and the censors.
W for war: From Boer War silent footage to China's version of the Opium Wars war films mix history with hysteria, passion with propaganda. By Andrew Kelly and Edward Lawrenson.
The deal: Mr Hankey; Hitchhiker's Guide returns; dog made man.
Television: Docusoap; TV's top 100; secret filming snag.
Letters: Visceral ban; Teo Escamilla; Sinatra's peak; a fuller Fuller.
Film reviews: Best Men, Budbringeren/Junk Mail/ Postbudet der vidste for meget, Desperate Measures, Different for Girls, Gummo, Heliu/The River, Jackie Brown, Kundun, Love etc., The Man in the Iron Mask, Mat i syn/Mother and Son/ Mutter und Sohn, Middleton's Changeling, Money Talks, Mortal Kombat 2 Annihilation, Mousehunt, Oscar and Lucinda, The Postman, The Rainrnaker, Rothschildin viulu/Rothschild's Violin/Le Violon de Rothschild, The Secret Agent, Sphere, Telling Lies in America, Thieves/Les Voleurs, 247/TwentyFourSeven, Ulee's Gold.
Private view: Comedian Sean Hughes on the miserablist Swedish film My Lfe as a Dog.


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.
Massacre of the innocents: Visions of the atomic bomb and the Virgin Mary haunt the killer child of Neil ]ordan's The Butcher Boy. Can we make sense of his killings, asks Charlotte O'Sullivan.
The natural: TwentyFourSeven sees young British director Shane Meadows adapt his DIY handicam approach to a shiny black-and-white boxing movie. Geoffrey Macnab talks to him about staying local and just doing it.
Sam Fuller perfect pitch: The late Sam Fuller, director of Shock Corridor and The Naked Kiss, was the last of the Hollywood directors who has really lived a life. Documentary- maker Adam Simon salutes him.
V for video: From video nasties to video diaries, from surveillance to the handicam, video has permanently changed the way we live and the way the movie industry works. By Richard Falcon.
Obituaries: 1997's late lamented plus featured obituaries for China's King Hu, Eastenders' Julia Smith, James Stewart and experimental film- maker Shirley Clarke.
The deal: Return of Mickey Mouse; Blade Runner sequel; British Oscar nominations.
Television: Censorship and drama; pop science; digital delays.
Letters: Cher and Cher alike; Titanic raised again.
Film reviews: Un air de famille, Amistad, As Good As It Gets, Bent, The Blackout, The Boxer, Breakdown, Breaking Up, The Butcher Boy, Fairytale A True Story, Fallen, Flubber, Gattaca, Good Burger, Good Will Hunting, Kavkazskii plennik/Prisoner of the Mountains, Kiss the Girls, Midnight in the Garden of Good and Evil, Mrs Dalloway, Paws, This Is the Sea, The Ugly, Wag the Dog.
Pivate view: The Full Monty's screenwriter Simon Beaufoy on Ken Loach's Riff-Raff.


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.
The big breeze: Ang Lee's The Ice Storm recalls the chill of the 70s and the mature, moody pleasures of Antonioni, Ozu and Bergman, but does it match them, asks Peter Matthews.
Massive attack: Titanic, the most spectacular and expensive of movies, is beautifully executed, well-acted, exciting and yet still not a 'good film', argues Jose Arroyo.
Frontier fusillade: The Pakistani epic Zar Gul, shot with daring naturalism and real bullets, depicts a society in free fall. Report and interview with director Salmaan Peerzada by Rani Singh.
U for Utopia: From the Morlocks below in The Time Machine to heaven above in A Matter of Life and Death, Philip Kemp looks at the could-bes and should-bes of imagined societies.
Books special: Andy Medhurst looks on three new books about British cinema - and despairs. Plus the quarterly round-up of the latest books.
The deal: Michael Ritchie; credits due; whither Coppola?.
Television: Seinfeld retires; how Edmonds and Evans got rich; fly-nn-the-wall soaps.
Letters: David Aukin; Sound and Sight; Rembrandt on film.
Film reviews: A toute vitesse/Full Speed, Bring Me the Head of Mavis Davis, Clubbed to Death, Downtime, The Edge, The Ice Storm, In & Out, In the Company of Men, I Went Down, The Jackal, Lucie Aubrac, Resurrection Man Sick The Life & Death of Bob Flanagan-Supermasochist, Spice World, Stella Does Tricks, Titanic, Tomorrow Never Dies, Traveller, Up 'n' Under, The Winner, The Woodlanders, Written on the Wind.
Private view: Scott Reynolds on Se7en.


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.
Recipe for a dust-up: British television is 'more than ever living in the past' argues This Life producer Tony Garnett. We publish his barnstorming speech to the Drana Forum.
The James gang: Is Henry James really unfilmable? The new The Wings of the Dove inspires Philip Horne to study the form of Jamesian directors, from Francois Truffaut to Jane Campion.
It will be worth it: Jean-Luc Godard's Histoire(s) du cinema is a 20-year project, surrounded by confusion, much of it created by the director himself Michael Temple blows away some of the clouds.
Cinephile nation: As Korea's econcmy has suffers a 'national humiliation', Korean film- makers are finding new ways to fund ther new wave. Tony Rayns reports from Seoul, Pusan and Puchon.
T for tears: Liese Spencer sniffs her way through emotion pictures, from Marion Davies in Show People to Romy and Michele's High School Reunion.
The deal: Depardieu's de Gaulle; Four lose three; BMW Bond.
Television: Video not Winnebagos; Charlie's Angels on film; MTV rival.
Letters: Alex Cox complains; 70s classics; Ridley Scott's lineage.
Film reviews: Boogie Nights, Def Jam's How to Be a Player, The Devil's Advocate, Devil's Island/Djoflaeyjan, The End of Violence, Frisk, Full Contact/Xia Dao Gao Fei, A Further Gesture, George of the Jungle, Hard Eight, Home Alone 3, I Know What You Did Last Summer, Incognito, Kissed, Kitchen/Wo Ai Chufang, Lepa sela lepo gore/Pretty Village Pretty Flame, Lilies, My Mother's Courage/Mutters Courage, Persons Unknown, Prince Valiant/Prinz Eisenherz, Starship Troopers, Trial and Error, The Wings of the Dove, The Winter Guest.
Private view: Carine Adler on the Rodgers and Hammerstein classic Carousel.

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