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
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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 128
December 2001
Babes in Babylon: David Lynch's Mulholland Dr. weaves glam lesbian sleuths, Hollywood doo-wop starlets and limo-riding mobsters into an LA wish-fulfilment dream that suddenly crumbles into nightmare. Graham Fuller is in the ps


Issue 127
November 2001
Casualties of war: Francis Ford Coppola abandoned rather than completed his masterpiece Apocalypse Now. Philip Horne surveys the additional scenes of humour, sex and politics in the director's longer new cut and asks, did less


Issue 126
October 2001
Dead man walking: The Coens' new film The Man Who Wasn't There may look like classic noir, but its ego-bereft hero and homely femme fatale confuse the moral maze, argues Graham Fuller. Plus DoP Roger Deakins talks to Ph


Issue 125
September 2001
Gorilla warfare: The new Planet Of The Apes dresses its big stars in elaborate simian costumes and features cutting-edge action scenes. But has Tim Burton lost his way, asks Andrew O'Hehir. Plus Kim Newman recalls a tim


Issue 124
August 2001
Mr Pink, Mr Indie, Mr Shhh: A favourite of the Coens and Tarantino, Steve Buscemi is the king of indie actors. As he directs his second film Animal Factory, Philip Kemp dissects the jittery unease and querulous yammer t


Issue 123
July 2001
Cannes 2001: What's the story, moaning glory: Cannes 2001 boasted new films from Godard, Lynch, Kiarostami, the Coens, Koreeda, Solondz and Claire Denis, plus a re-edited version of Coppola's Apocalypse Now. So why do B


Issue 122
June 2001
Strictly red: Baz Luhrmann's Moulin Rouge spins Madonna and Marilyn Monroe, Orpheus and Toulouse-Lautrec into a glittering web of fin-de-siecle Paris. Graham Fuller talks to the director about reinventing the musical.


Issue 121
May 2001
Paradise lust: Nicolas Cage is as good as ever in the war romance Captain Corelli's Mandolin, but why is the film nostalgic for old-style Hollywood, and why is the US so keen on the Europudding, asks Jose Arroyo.


Issue 120
April 2001
Emotional engineering: Edward Yang's A One And A Two.... has the family traumas of a soap opera glimpsed through half-closed doors. Nick James celebrates a film that captures Taiwan's middle classes on the verge of a ne


Issue 119
March 2001
Bloodred horizons: When Mike Nichols bought the neo-Western All The Pretty Horses he thought it was the hottest property since The Graduate. Jim Kitses asks if Billy Bob Thonrton's film lives up to expectations.<


Issue 118
February 2001
Six degrees of Nosferatu:The circumstances surrounding F. W. Murnau's classic 1922 vampire film are still a subject for speculation. Thomas Elsaesser unravels a web of connections.
Take it like a girl


Issue 117
January 2001
In bed with the film council: The Film Council's clean-slate approach promises all things to all film-makers. Nick James probes the rhetoric to find out what new British cinema might be.
Thieves on th

All magazine covers are copyrighted by their publishers. No rights are given or implied. They are presented here for their historical significance and the edification of magazine fans and collectors, everywhere.