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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 176
December 2005
Script Special: The Man Who Wasn't There: Eliot Stannard wrote Hitchcock's ?rst ?lms and produced one of the earliest screenwriter's manuals. Michael Eaton heralds a forgotten pioneer of British cinema
Songs For Swinging Lovers: A lurid look at the dark side of a 1950s double act, Where the Truth Lies might seem an unlikely choice for arthouse talent Atom Egoyan. Yet Linda Ruth Williams recognises themes from the director's other work at play
Script Special: Screwball Thrills: Shane Black was Hollywood's superstar screenwriter in the 1980s and 1990s. As his directorial debut Kiss Kiss Bang Bang is released, Kim Newman salutes Black's brand of postmodernism for the masses. Plus, Black talks to Stephen Dalton
Script Special: I Was Bu?uel's Double: Having written for Bu?uel, Oshima and Forman, Jean-Claude Carri?re is the auteur's screenwriter of choice. He grants Adam Preston a rare audience
Spellbound: Scott McGehee and David Siegel follow their acclaimed The Deep End with Bee Season, another probing drama of a family in crisis. The directors talk to Jason Wood
Honey-glow Girl: Julie Christie was the face of the 1960s. But the range of her performances across three decades outshines her reputation as an icon of swinging London. By Melanie J. Williams
The complete list of films reviewed in this issue: 33 x around the Sun, Bee Season, Crying Fist, Deuce Bigalow European Gigolo, Domino, Dreamer Inspired by a True Story, Elizabethtown, Everything Is Illuminated, Factotum, Hustle & Flow, In Her Shoes, Just like Heaven, Kiss Kiss Bang Bang, The Legend of Zorro, The Libertine, Lord of War, Love + Hate, Lower City, Mad Hot Ballroom, March of the Penguins, Mrs Henderson Presents, Rize, Separate Lies, Sky High, Stoned, Thirst, Thumbsucker, Tickets, Transporter 2, Wallace & Gromit in the Curse of the Were-rabbit, Where the Truth Lies.


Issue 175
November 2005
Kiss Kiss Bang Bang: Edward Lawrenson on a thriller that takes a knowing look at Hollywood
Good Night And Good Luck: Geoffrey Macnab on George Clooney's tribute to speaking your mind
The Death Of Mr Lazarescu: Mark Cousins on death in Bucharest
Gene Hackman: Royal Rapscallion: He made his name as a criminal in Bonnie and Clyde and a cop in The French Connection, becoming the face of the edgy new 1960s and 1970s US cinema. Andrew Collins celebrates a hulk with a soft centre and an enduring wig
Ten Sight & Sound London Selections: Our pick of the festival
Taking care of is-ness: Does Jim Jarmusch's Broken Flowers signal an edging into the mainstream? Nick Roddick isn't sure - but in Bill Murray the director has found the grown-up counterpart to his laconic young drifters
The Times bfi London Film Festival: Cash and conscience: He didn't like the script and he knew the Weinsteins meant trouble - so why did Terry Gilliam take on The Brothers Grimm? He tells Bob McCabe about the genesis of the historical romp that marks his return to the big screen.
Angels And Demons: How could Carlos Reygadas follow up Jap?n's stirring landscapes and inter-generational sex? With the opening of Battle in Heaven, which provided this year's critical succ?s de scandale. He tells Nick James about his hopes for something better
Tales from the Gilded Cage: Venice 2005 had its share of Hollywood glitz and glamour - in support of a new wave of politically engaged film-making. Nick James regrets not having the chance to buy George Clooney and Ang Lee a celebratory cup of coffee
The complete list of films reviewed in this issue: Agata and the Storm, Another Public Enemy, The Aristocrats, Battle in Heaven, The Beat That My Heart Skipped, Blinded, Born to Fight, Broken Flowers, The Brothers Grimm, Corpse Bride, Everything, The Exorcism of Emily Rose, Familia rodante, Flightplan, 4, Four Brothers, Ghost in the Shell 2: Innocence, Goal!, Innocence: K?kaku Kid?tai, Into the Blue, Le Grand Voyage, The Man, Murderball, Must Love Dogs, Nanny McPhee, One Dollar Curry, Out on a Limb, Revolver, Room 36, Serenity, Sophie Scholl the Final Days, Vital, We Jam Econo The Story of the Minutemen, When Will I Be Loved, Wolf Creek.


Issue 174
October 2005
Castles In The Sky: Veteran animator Hayao Miyazaki's new film Howl's Moving Castle draws on motifs from his past work and anime's longstanding fascination with children's literature, writes Andrew Osmond.
School For Scandal: Dealing with an all-girls' boarding school located in the middle of a dense forest, Lucile Hadzihalilovic's Innocence is like Enid Blyton re-written by Kafka. Jonathan Romney is impressed with its uncanny atmosphere.
Good Guy, Bad Guy: Financed by a major Hollywood studio, A History of Violence is David Cronenberg's most accessible film since The Fly. But, argues Graham Fuller, this ostensible thriller is also a transgressive fantasy about masculinity, middle-age repression and the dark side of the American psyche.
The Insider: Roman Polanski's films pull you into atmospheric interior worlds that are saturated by desire, fear and fantasy. On the release of the director's adaptation of Oliver Twist, Mark Cousins celebrates Polanski's extraordinary career. Plus, Patrick Fahy reports from the set of Oliver Twist.
Skies In Her Eyes: Loretta Young's beauty was an integral component of her memorable screen performances. Gilberto Perez celebrates the allure of an actress who was one of Cagney's few equals Cover.
The complete list of films reviewed in this issue: The 40-Year-Old Virgin, A History of Violence, Bewitched, Born into Brothels, Bread and Tulips/Pane e tulipani/ Pain, tulipes et com?die, The Cave, Chunky Monkey, The Constant Gardener, Daybreak, The Dukes of Hazzard, Eugenio, Football Days, Green Street, Guy X, Heidi, The Honeymooners, Howl's Moving Castle, In the Realms of the Unreal, Innocence, The Island, The Jealous God, King's Game, Kinky Boots, Land of the Dead, Lords of Dogtown, Night Watch, Oliver Twist, The Perfect Man, Pride & Prejudice, R-point, Rag Tale, Red Eye, The Rising Ballad of Mangal Pandey, Saraband, Shake Hands with the Devil: The Journey of Rom?o Dallaire, Stealth, Tell Me Something.


Issue 173
September 2005
The Storyteller: Ian Christie explains how Michael Powell's unfinished fantasia of 1973 moves between the imagined and reality, scrolling through his life and loves with wit and sensuality.
Edinburgh 2005: The Sun: Aleksandr Sokurov's new film is an upbeat character study of Japanese emperor Hirohito. By Geoffrey Macnab
Edinburgh 2005: The 3 Rooms Of Melacholia: A new documentary sees the Chechen conflict through children's eyes. By Leslie Felperin
Edinburgh 2005 No Manifesto: This summer's Edinburgh Film Festival lays out a challenging spread that includes Aleksandr Sokurov's portrait of Hirohito, a Finnish documentary about Chechnya and a film opera from Hungary. Geoffrey Macnab, Leslie Felperin and Nick Roddick report, plus S&S gives our top ten recommendations
Blurred exit: If you want to know how Nirvana singer Kurt Cobain died, Gus Van Sant's Last Days won't tell you. But it does deliver an inspired meditation on untimely death and the power of mourning. By Amy Taubin. Cover image Michael Pitt as Blake in Last Days
Gun crazy: After he'd finished writing Dear Wendy Lars von Trier asked his Dogme co-founder Thomas Vinterberg to direct. The result is a satire on US gun culture and a poignant story of lost youth that draws Brecht and Beau Brummel into its mix. By Virginie Guichard. Plus James Bell talks to the director about guns, gangs and whether Dogme is dead.
Michael Powell My Jealous Mistress: Do you know what goes on in the cutting room at night? Michael Powell did, and this fictionalised editing-suite fantasia - written in 1973 and published here for the first time - scrolls with dreamlike sensuality through his life in the studio, his love of women and his passion for cinema. S&S pays exclusive tribute to one of Britain's greatest film-makers on the centenary of his birth.
Alien heart: Claire Denis' The Intruder is a reflection on fatherhood, mortality and the life of French new wave actor Michel Subor. Jonathan Romney tracks her unpredictable career and talks to her about heart transplants, South Seas idylls and Swiss strongrooms
The complete list of films reviewed in this issue: Ab-normal Beauty, Appleseed, Arakimentari, Ars?ne Lupin, Asylum, Bad News Bears, Because of Winn-Dixie, Charlie and the Chocolate Factory, Cinderella Man, On DVD: Preston Sturges Box Set, Fantastic Four, H65, Herbie Fully Loaded, Last Days, The Longest Yard, Me and You and Everyone We Know, The Mighty Celt, No Rest for the Brave, One Night in Mongkok, Pleasant Days, Primer, Pusher II With Blood on My Hands, The Secret Lives of Dentists, Spirit Trap, Summer Storm, The Adventures of Sharkboy and Lavagirl 3-D, The Business, The Descent, The Night of Truth, The Sun, War of the Worlds.


Issue 172
August 2005
Edinburgh Cringe: Festival is a freewheeling Altmanesque comedy about the Edinburgh Fringe festival. So how come it's funny and tragic and romantic all at once? Director Annie Griffin, creator of television's The Book Club, knows how. All comedians 'are like babies', she tells Jonathan Romney.
The Big Stealer: Robert Mitchum's persona is built on true and tall tales, an 'immoral' face, an often exposed body and a naturally minimalist talent in front of the camera. This made him the perfect representative of the doomed male victim-hero of film noir, argues Nick James.
French Cinema the Anti-Hollywood: 'No compromise' could be actress B?atrice Dalle's motto as Process director C.S. Leigh tells it. The same can be said for director Bruno Dumont, who talks to Demetrios Matheou about his new road movie Twentynine Palms in this round-up of recent French film. PLUS Charlotte Garson on the state of the French industry.
An Improper Charlie: Tim Burton may have produced James and the Giant Peach but he's not the obvious choice to direct Roald Dahl's attack on the modern child Charlie and the Chocolate Factory. Fortunately Burton, with his best collaborator Johnny Depp on top weird form as choc-making genius Willy Wonka, has succinctly updated the story. Roger Clarke is delighted with its insouciant charm.
Spirit Levels: Ever since the success of The Ring Japanese horror movies have been routinely remade by Hollywood. But what gets lost in translation? Walter Salles' remake of Hideo Nakata's Dark Water provides an apt vehicle for cultural comparison, says Mark Kermode.
The complete list of films reviewed in this issue: 3-iron, Beautiful Boxer, The Car Keys, Crash, Dark Water, Dear Wendy, The Devil's Rejects, Errance, Festival, Imaginary Heroes, James' Journey to Jerusalem, Kicking & Screaming, Los debutantes, Mr. & Mrs. Smith, Novo, Process, Shallow Ground, The Last Mitterrand, The Perfect Catch, The Skeleton Key, Tiresia, Twentynine Palms, The United States of Leland, Unleashed, Walk on Water, Wedding Crashers, Whisky, Yes.


Issue 171
July 2005
Funny Peculiar: Bald, gangly and nervous-looking, Alastair Sim was one of British cinema's great eccentrics. And among its finest actors, argues Michael Brooke.
Geometry Of Feelings: Alain Delon and Monica Vitti adorn L'eclisse, a chilly, formally daring tale of a brief relationship that is the crowning moment for Michelangelo Antonioni's brand of stringent modernism. Guido Bonsaver explains the director's appeal.
The Right Stuff: Cannes Special Reporting from a vintage Cannes festival, Nick James is cheered by a strong line-up from big-name auteurs. Plus Ali Jaafar on cinema from the Middle East, Jonathan Romney on the laughter of critics and Andrew Pulver on a very British controversy.
Cape Fear: Christopher Nolan's Batman Begins returns to the caped crusader's comic-book origins. Kim Newman identifies the influences.
H.G.Wells: The Man Who Knew Too Much: With the imminent release of Steven Spielberg's War of the Worlds, Sylvia Hardy assesses its original author H. G. Wells' contribution to early cinema.
Less Than Zero: Olivier Assayas' Clean has a strong lead role for Maggie Cheung, his former wife, and a note-perfect evocation of the grungy fringes of contemporary rock. The director talks to Jonathan Romney.
The complete list of films reviewed in this issue: Batman Begins, Bridesmaid, The, Brotherhood, Clean, Czech Dream, Darwin's Nightmare, Dig!, Dirty Shame, A, Evil, Heart Is Deceitful above All Things, House of Wax, In My Father's Den, Istanbul Tales, Kings & Queen, Lot Like Love, A, Madagascar, Monster-in-law, One Love, Overnight, Paradise Grove, Rock School, Secret Things, Seed of Chucky, Silver City, Sisterhood of the Traveling Pants, The, Sky Blue, Star Wars Episode III Revenge of the Sith, Swimming Upstream, Take, The, Torremolinos 73, Undertow, Who Killed Bambi?


Issue 170
June 2005
The Godard Interview: I, A Man Of The Image: The upbeat mood of Godard's Notre musique, in which war is hell, Sarajevo a purgatory and heaven a lakeside idyll, was not built to last. 'It's exhausted,' the director tells Michael Witt.
The Fickle Finger Of Fame: No one better represents the pro actor's contempt for fame than Jerry Lewis. Praised by French critics as an auteur but viewed with suspicion here as a rubber-faced void, Lewis is the essence of star angst, says Jonathan Romney.
Colour Me Noir: Frank Miller's brutal comic-book series Sin City uses expressionist graphics to convey its characters' darkest fears. And in Robert Rodriguez's CGI-tooled adaptation it's forever night, says Graham Fuller. Plus The director tells Mark Olsen why his actors prefer to perform alone in front of the greenscreen.
In the Name of the Father: Arnaud Desplechin's Kings and Queen weaves psychoanalysis and myth into a realist drama. Is it France's answer to Woody Allen and Hitchcock, asks Muriel Zagha.
Anatomy of a Skin Flick: Inside Deep Throat charts the story of a cheap porn flick that became a cultural and political cause c?l?bre. Linda Ruth Williams recalls the heady seductions of porno chic.
Close Encounter: Gregg Araki's Mysterious Skin is a ravishing film about the after-effects of child abuse. He talks about its imagery with SF Said
The complete list of films reviewed in this issue: Adam & Paul, Amityville Horror, The, Around the Bend, Baadasssss!, Bomb?n El perro, Caf? Lumi?re, Cat Returns, The, Clifford's Really Big Movie, Common Thread, A, Five, Five, Friday Night Lights, Guerrilla The Taking of Patty Hearst, Guess Who, Heimat 3 A Chronicle of Endings and Beginnings Part 3 The Russians Are Coming, Hitchhiker's Guide to the Galaxy, The, Inside Deep Throat, It's All Gone Pete Tong, Kingdom of Heaven, League of Gentlemen's Apocalypse, The, Man of the House, Mondays in the Sun, Moolaad?, Notre musique, Part 4 Everybody Is Doing Well, Part 5 The Heirs, Part 6 Farewell to Schabbach, Private, Sahara, Sin City, Sin City, Stander, Strings, Thirteen Conversations about One Thing, Wedding Date, The, What tHe #$*! Dq wS (k)pow!?, xXx2 The Next Level.


Issue 169
May 2005
Only Human: Douglas Adams' surreal SF comedy Hitchhiker's Guide to the Galaxy was a huge cult success as a radio series, a TV show and a novel. But does the long-awaited film adaptation work, asks Andrew Osmond. Plus its director-producer team talk to Edward Lawrenson; and Warwick Davis, the actor inside Marvin the Paranoid Android, talks to Andy Kimton-Nye.
Impulse: The best films of Otto Preminger are like Renoir crossed with Fritz Lang. With the rerelease of Anatomy of a Murder David Thomson rehabilitates a neglected genius.
Where is the director?: Abbas Kiarostami's 'Koker Trilogy' is exquisitely poised between fiction and real life, opening film to new formal experiences. It's his greatest work, argues Gilberto Perez.
Warriors of Faith: Invited to give his expert opinion on Ridley Scott's crusader movie Kingdom of Heaven, Islamic historian Hamid Dabashi was intrigued. Shown an early cut of the movie by the director himself, Dabashi explains why it isn't anti-Islam.
The Sunshine Kids: In Todd Solondz's Palindromes eight actors of different gender, age and size play the same 12-year-old heroine. Here Solondz tells Demetrios Matheou why he identifies with them all.
Body Rampant: Malcolm McDowell has established a controversial career playing teenage thugs and psychotic tyrants with the grace of a dancer. Mark Kermode admires his moves.
Books Special: Combining film history, literary criticism, and the author's love for Nicole Kidman, The Whole Equation impresses Kevin Jackson. Plus What did silent films sound like, Lindsay Anderson, and remembering Britain's film factory.
The complete list of films reviewed in this issue: Be Cool, Brothers, Chicken Tikka Masala, The Clan, The Consequences of Love, Cursed, Darkness, Downfall, Fat Slags, Flight of the Phoenix, A Good Woman, Heimat 3 A Chronicle of Endings and Beginnings Part 1 The Happiest People in the World, Heimat 3 A Chronicle of Endings and Beginnings Part 2 World Champions, The Interpreter, The Jacket, Kung Fu Hustle, Lizard, Miss Congeniality 2 Armed & Fabulous, Mysterious Skin, Ong-Bak, Only Human, The Pacifier, Palindromes, The Ring Two, Robots, Twin Sisters, Untold Scandal, We Don't Live Here Anymore.


Issue 168
April 2005
Tell It To The Camera: Jonathan Caouette's Tarnation stitches together home movies from his childhood onwards into a no-budget documentary of wrenching emotional honesty and visual power. B. Ruby Rich reports.
Theatre of Complicity: Catherine Deneuve has made an art of appearing not to act, whether embodying troubled sexuality or carefree spontaneity. She's the best since Lillian Gish, says Geoffrey Nowell-Smith.
Double Trouble: In Woody Allen's Melinda and Melinda tragedy and comedy wrestle each other for supremacy. It's set in Woody's Manhattan with Woody's kvetching - but does it work without Woody's tragi-comic face, asks Howard Jacobson. Plus Allen tells Sheila Johnston why he hates sitting around home.
Madonna Of The Mules: Mar?a Full of Grace humanises the plight of Columbian drug mules through a story based on a young woman whom director Joshua Marston met in a New York Caf?. He talks to Ali Jaafar.
Maximum Elmore: Elmore Leonard's hardboiled, dialogue-driven stories offer film adapters a deceptively easy ride. Woody Hurt pursues a trail that culminates in the new Be Cool. Plus crime writer George Pelecanos celebrates his top Leonard films.
The complete list of films reviewed in this issue: Andrew & Jeremy Get Married, The Assassination of Richard Nixon, Beauty Shop, Boogeyman, Bullet Boy, Casshern, Constantine, Don't Move, The Duel, The Edukators, First Daughter, Hitch, Hostage, Hotel Rawanda, In Your Hands, Kill Your Idols, Life Is a Miracle, Lovelorn/Gonul yarasi, Machuca, Mean Creek, Monster Man, New Town Original, 9 Songs, Pooh's Heffalump Movie, The Rage in Placid Lake, Shabd, Son of the Mask, Tarnation, The Key to the House, Valiant, Wild Side.


Issue 167
March 2005
Lesser Spotted Fish And Other Stories...: Wes Anderson's The Life Aquatic with Steve Zissou charts the problems of an autocratic, obsessive director. 'It's not based on me,' he promises Kevin Conroy Scott. Plus Ali Jaafar explores the underwater world of Anderson's muse Jacques Cousteau.
Dark Passion: Voted 2004's best European film, Head-On explores Turkish-German cultural identity through the eyes of a girl who just wants to have fun. Asuman Suner reports.
Origins of the Agit Fop: Boomstick-toting Nick Broomfield has become a familiar sight in his own films. Jason Wood revisits the time when the documentary-maker stayed behind the camera.
Dangerous Intimacies: Actor Antonio Banderas has bridged the divide between Europe and America, and Latinos and Angles. And he's man enough for anyone, says Paul Julian Smith.
Icon: Andrei Tarkovsky is still regarded as a director with a gold-plated reputation - but what was the reaction to his films on their release? Nick James turns back the clock.
Obituaries: Sight & Sound mourns the passing of Carlo Di Palma, Marlon Brando, Ann Miller, Suraiya, Kamal El-Sheikh and Michael Relph, plus a host of others remembered by Bob Mastrangelo.
The complete list of films reviewed in this issue: 15, 5X2, Aliens of the Deep, Are We There Yet?, Assault on Precinct 13, The Aviator, The Chorus, Coach Carter, Duck Season, Elektra, Head-On, Hide and Seek, In Good Company, Kinsey, Laura's Star, The Life Aquatic with Steve Zissou, Ma m?re, The Machinist, The Magic Roundabout, Mar?a Full of Grace, Mayor of the Sunset Strip, Melinda and Melinda, Million Dollar Baby, moog, The Movie, Paparazzi, Racing Stripes, The Sea Inside, Shall We Dance, Somersault, Spanglish, SpongeBob SquarePants, Tropical Malady, White Noise, The Yes Men.


Issue 166
February 2005
Red, White And Brew: In Sideways Alexander Payne follows two emotionally retarded middle-aged men around the Californian vineyards. But how does he make us like them, asks Mark Salisbury.
Muscular Contractions: Sex scenes are a matter of letting the actors do what they do best, says James Toback. He talks to Peter Biskind about the making of When Will I Be Loved.
Miss France: Is it talent or looks that have made Audrey Tautou France's biggest female star? Or is her innocence a welcome antidote to a deluge of media sex? Ginette Vincendeau watches A Very Long Engagement.
Divine Innocence: Catholic female adolescence is a time of nascent sexuality and spiritual desire, says Lucrecia Martel of her new film The Holy Girl. She talks to Nick James about doctors, saints, hotels and her sense of self.
An Artist Of The Floating World: In Trilogy The Weeping Meadow Theo Angelopoulos revists the themes that have informed his long career. He tells Sight & Sound about the significance of umbrellas.
The lonely centre: Max von Sydow was a lean and craggy presence as Bergman's alter ego and a string of Hollywood outsiders. And he's still available, says Geoffrey Macnab.
The complete list of films reviewed in this issue: 2046, Alexander, Blade Trinity, Christmas with the Kranks, Closer, Creep, Criminal, The Door in the Floor, End of the Century: The Story of the Ramones, G.O.R.A., A Hole in My Heart, The Holy Girl, Inheritance, Ladder 49, The Last Horror Movie, Lemony Snicket's A Series of Unfortunate Events, Levity, Los Angeles Plays Itself, Meet the Fockers, National Treasure, Ocean's Twelve, Orwell Rolls in His Grave, Phantom of the Opera, Ray, School for Seducation, Sideways, Sleepover, Sword of Xanten, Turtles Can Fly, Vanity Fair, A Very Long Engagement, Wall, William Shakespeare's The Merchant of Venice, The Woodsman.


Issue 165
January 2005
So Many Moustaches!: A cache of films by Edwardian company Mitchell & Kenyon brings to life the ghosts of a lost world. Nick James watches in wonder.
Fly Guy: In the The Aviator Martin Scorsese pays tribute to Howard Hughes and Hollywood's golden age. Ian Christie visits the set and watches Leonardo DiCaprio walking on glass.
Backstreet Revisited: Mike Leigh's new film tackles the issue of abortion in a lovingly recreated 1950. Edward Lawrenson talks to the director of Vera Drake about family values, trusting the audience and escaping the arthouse. Plus Robert Murphy on celluloid depictions of 1950s Britain.
The Long Goodbye: Wong Kar-Wai's 2046 is a set of meditations on the theme of unfulfilled love that takes its lead and atmosphere from In the Mood for Love. Tony Rayns follows the production from 1998, when Wong invited him to work on the script.
Smooth As Old Cognac: Claude Rains had a voice like honey mixed with gravel and an intelligent presence that stole every scene. Philip Kemp salutes Casablanca's slippery Captain Renault.
The complete list of films reviewed in this issue: Aalta, After the Sunset, Alfie, Anatomy of Hell, Bad Santa, Beautiful Dream Brian Wilson and the Story of SMiLE, Beyond the Sea, Callas Forever, Chaos, Dear Frankie, The Forgotten, Garden State, A Home at the End of the World, House of Flying Daggers, Hukkle, I Am David, Koktebel, Little Black Book, Man about Dog, Mondovino, Napolean Dynamite, Nobody Knows, The Polar Express, Riding Giants, Shark Tale, Surviving Christmas, Team America World Police, Incredibles, The, Toolbox Murders, Trilogy: The Weeping Meadow, Undead, Vera Drake, When the Last Sword is Drawn, Would I Lie to You?

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