From the Sight and Sound archive
Trimming Tolkien: on the faithfulness of Peter Jackson’s The Lord of the Rings
The Fellowship of the Ring may be a huge success for Peter Jackson, but what would Tolkien have thought of it, asked this feature from our February 2002 issue.
From the Sight and Sound archive
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinema
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinemaFrom the Sight and Sound archive
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin Horse
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin HorseFrom the Sight and Sound archive
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989From the Sight and Sound archive
An extraordinary film about ordinary people: L’Atalante reviewed in 1951
An extraordinary film about ordinary people: L’Atalante reviewed in 1951From the Sight and Sound archive
Calling the shots: Secretary reviewed in 2003
Calling the shots: Secretary reviewed in 2003From the Sight and Sound archive
“I want a formally perfect film”: Pier Paolo Pasolini on the making of Salò
“I want a formally perfect film”: Pier Paolo Pasolini on the making of SalòFrom the Sight and Sound archive
Loosening the knot: on the set of Zhang Yimou’s To Live
Loosening the knot: on the set of Zhang Yimou’s To LiveFrom the Sight and Sound archive
Escape artist: Lynne Ramsay’s Morvern Callar
Escape artist: Lynne Ramsay’s Morvern CallarFrom the Sight and Sound archive
“It’s alive!”: the gothic tradition’s enduring legacy on screen
“It’s alive!”: the gothic tradition’s enduring legacy on screenFrom the Sight and Sound archive
The House of Mirth: a Wharton adaptation that rivals Scorsese’s
The House of Mirth: a Wharton adaptation that rivals Scorsese’sFrom the Sight and Sound archive
Perfect Blue: Kon Satoshi’s twisted pop dream
Perfect Blue: Kon Satoshi’s twisted pop dreamFrom the Sight and Sound archive
Midnight madness: The Rocky Horror Picture Cult
Midnight madness: The Rocky Horror Picture CultFrom the Sight and Sound archive
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy Elliot
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy ElliotFrom the Sight and Sound archive
Robert Redford: act natural
Robert Redford: act naturalFrom the Sight and Sound archive
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984From the Sight and Sound archive
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmare
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmareFrom the Sight and Sound archive
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989From the Sight and Sound archive
Subversive spirit and satirical energy: Sense and Sensibility reviewed in 1996
Subversive spirit and satirical energy: Sense and Sensibility reviewed in 1996From the Sight and Sound archive
“It’s no good showing things as they are – people wouldn’t believe them”: Alfred Hitchcock on To Catch a Thief
“It’s no good showing things as they are – people wouldn’t believe them”: Alfred Hitchcock on To Catch a ThiefFrom the Sight and Sound archive
A child’s demon: Robert Mitchum in The Night of the Hunter
A child’s demon: Robert Mitchum in The Night of the HunterFrom the Sight and Sound archive
Slaughterhouse blues: Charles Burnett on Killer of Sheep
By Armond White and Alex Cox
From the Sight and Sound archive
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film Library
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film LibraryFrom the Sight and Sound archive
Record of War: a provocative pairing of propaganda films
Record of War: a provocative pairing of propaganda filmsFrom the Sight and Sound archive
Refuseniks: Agnès Varda on The Gleaners and I
Refuseniks: Agnès Varda on The Gleaners and IFrom the Sight and Sound archive
“A piece of punk-rock movie-making”: 28 Days Later reviewed in 2002
“A piece of punk-rock movie-making”: 28 Days Later reviewed in 2002From the Sight and Sound archive
“Offers more hope than any other British film of the 1980s so far”: Local Hero reviewed in 1983
“Offers more hope than any other British film of the 1980s so far”: Local Hero reviewed in 1983From the Sight and Sound archive
“One thing this endlessly prurient film never shows is female sexual pleasure”: Showgirls reviewed in 1996
“One thing this endlessly prurient film never shows is female sexual pleasure”: Showgirls reviewed in 1996 From the Sight and Sound archive
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star Wars
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star WarsFrom the Sight and Sound archive
“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike
“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike