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 140
December 2002
Easy on the megaphone: John Malkovich has just directed his debut film, the political thriller The Dancer Upstairs. He tells James Mottram why he waited so long before getting behind the camera and explains why red wine keeps


Issue 139
November 2002
On a wing and a prayer: The Venice film festival was under pressure to perform after its director was removed with just months to go. Nick James on new head Moritz de Hadeln's surprising success Plus reviews of the highlights.


Issue 138
October 2002
Reasons to be cheerful: Is 2002 the year when British cinema stopped trying so hard to please? Ryan Gilbey celebrates a crop of abrasive new films by Ken Loach, Mike Leigh and their heirs.
That shrink


Issue 137
September 2002
Cool measures: Under a new artistic director, the Edinburgh film festival has gone from strength to strength, says Nick James. S&S reviews three of its thoroughly arthouse pleasures.
Pure kamikaze


Issue 136
August 2002
An eye for an eye: Minority Report confirms Steven Spielberg as the greatest cinematic orchestrator of our time. Kubrick, Hitchcock, sci-fi, Orwell, neo-noir, slapstick comedy and Tom Cruise combine in a dark tale of state con


Issue 135
July 2002
Rich and strange: This year's Cannes was bursting with good films that successfully mixed art and politics. Our critics pick 30 of the best to look out for. Plus Nick James is seduced by Scorsese's Gangs of New York and asks w


Issue 134
June 2002
Changing the guard: Monster's Ball languised for five years while Hollywood tried to lighten it up. Nick Roddick talks to director Mark Forster about this dark vision of US society that made Halle Berry an unexpected hit.


Issue 133
May 2002
Mother courage: Jodie Foster has specialised in playing single parents and abandoned children. Linda Ruth Williams watches David Fincher's Panic Room and discovers why.
Boom raider: In Biggie a


Issue 132
April 2002
Trans-Europe expression: The Rotterdam and Berlin festivals launch the European film new year. Sight and Sound's critics bring you the movies to watch our for.
Heaven's mouth: 'And Your Mother


Issue 131
March 2002
Family album: Wes Anderson's dysfunctional family saga The Royal Tenenbaums is even more audaciously eccentric than Rushmore. Jonathan Romney teases out the wealth of seductively contrived imagery that makes it such a magnific


Issue 130
February 2002
Nice 'n easy: With 1960's Ocean's Eleven Sinatra's Rat Pack proved they could make a rotten Vegas heist movie. Now there's a slick, star-studded remake. Shawn Levy wonders why and asks if George and Brad can ever be as cool as


Issue 129
January 2002
To be or not to be: British actors are universally respected but tragically underused. Nick James asks why the current batch of lottery-funded Britfilms ignore one of our greatest assets.
Henna and ce

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