Sight and Sound articles
Reviews
Last Summer: Catherine Breillat’s most heartbreaking film to date
Catherine Breillat’s remake of the Danish film Queen of Hearts plays with ideas of attraction, repulsion and self-delusion through Anne (Léa Drucker), a middle-aged lawyer who finds herself inappropriately drawn to her teenage stepson.
By Ela Bittencourt
Last Summer: Catherine Breillat’s most heartbreaking film to date
Reviews
Sometimes I Think About Dying: downbeat workplace indie shows another side to Daisy Ridley
By David Katz
From the Sight and Sound archive
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The Searchers
By Lindsay Anderson
Reviews
All You Need is Death: hallucinatory horror captures the alchemical power of Irish folk ballads
By Roger Luckhurst
Reviews
The Book of Clarence: a messy, genre-blending Biblical epic
By Arjun Sajip
Reviews
If Only I Could Hibernate: a beautifully crafted Mongolian drama
By Tom Charity
Reviews
Back to Black: Amy Winehouse biopic fails in its aspirations to focus on the music
By Rebecca Harrison
Reviews
The Teachers’ Lounge: the hunt for a bad apple leads to chaos in this jittery classroom thriller
By Catherine Wheatley
Reviews
Civil War: Alex Garland’s spectacle of violence is determined to throw the audience off balance
By Henry K Miller
Reviews
Yannick: a disgruntled heckler hijacks a play in Quentin Dupieux’s wry comedy
By John Bleasdale
Reviews
Io Capitano: a surreal, shapeshifting quest for a new life in Europe
By Jason Anderson
Reviews
The First Omen: a surprisingly lively take on well-worn franchise mythology
By Adam Nayman
Reviews
Monkey Man: Dev Patel wreaks brutal havoc in a muddled but enthralling revenge drama
By Guy Lodge
Reviews
Godzilla x Kong: The New Empire: an enjoyably goofy monster mash
By Kim Newman
Reviews
The Sweet East: a risky, uncompromising road movie
By Catherine Wheatley
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Mothers’ Instinct: maternal grief turns deadly in this intense but predictable psychological thriller
By Kate Stables
Reviews
Opus: Sakamoto Ryuichi performs his swan songs
By Sam Wigley
Reviews
Late Night with the Devil: an underwhelming horror with an ingenious concept
By Adam Nayman
Reviews
Baltimore: thrilling heist movie tells the story of Rose Dugdale, a British heiress turned IRA member
By Katie McCabe
From the Sight and Sound archive
“Scorsese has become the threnodist of frustration”: After Hours reviewed in 1986
By Richard Combs
Reviews
Immaculate: Rosemary’s Baby reimagined as a giallo in a convent
By Anton Bitel
Reviews
The Delinquents: a bank robbery movie that plays like an existential epic
By Adam Nayman
Reviews
Robot Dreams: Pablo Berger’s touching silent animation shows how swiftly a bond of affection can mark a life
By Alex Dudok de Wit
Reviews
Exhuma: Korean occult horror excavates multiple layers of weirdness
By Anton Bitel
Reviews
The New Boy: realism is undercut by magic in Warwick Thornton’s Outback fable
By Jonathan Romney
Reviews
Banel & Adama: Ramata-Toulaye Sy’s elemental love story has the air of a parable
By Annabel Bai Jackson
Reviews
Drive-Away Dolls: a lesbian road trip comedy that feels authentic to the 1990s but stuck there, too
By Simran Hans
Reviews
Monster: Koreeda Hirokazu’s elegant and imaginative expression of childhood
By Guy Lodge
Reviews
Imaginary: a sufficiently creepy domestic ghost story
By Kim Newman