From the Sight and Sound archive
“It is itself very like TV, the monster it mocks”: Network reviewed in 1977
When it was first released, our reviewer David Thomson found Sidney Lumet’s media satire to be too reliant on the methods and devices of commercial TV, writing “the film is as vicious and feeble as a wasp trapped in the jam it craves”.
From the Sight and Sound archive
“Donald Sutherland’s performance is the gem of this flawed masterpiece”: Fellini's Casanova reviewed in 1977
“Donald Sutherland’s performance is the gem of this flawed masterpiece”: Fellini's Casanova reviewed in 1977From the Sight and Sound archive
“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re Dead
“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re DeadFrom the Sight and Sound archive
Agnieszka Holland: staying power
Agnieszka Holland: staying powerFrom the Sight and Sound archive
Inside Out: tales of ordinary sadness
Inside Out: tales of ordinary sadnessFrom the Sight and Sound archive
The Matrix and rubber reality
The Matrix and rubber realityFrom the Sight and Sound archive
Handsworth Songs, reviewed in 1987
Handsworth Songs, reviewed in 1987From the Sight and Sound archive
Remain in light: Roger Deakins in ten shots
Remain in light: Roger Deakins in ten shotsFrom the Sight and Sound archive
Luis Ospina: the politics of vampires
Luis Ospina: the politics of vampiresFrom the Sight and Sound archive
“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989
“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989From the Sight and Sound archive
The roots of neorealism
The roots of neorealismFrom the Sight and Sound archive
Support your local police movie
Support your local police movieFrom the Sight and Sound archive
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the AntarcticFrom the Sight and Sound archive
Elaine May: laughing matters
Elaine May: laughing mattersFrom the Sight and Sound archive
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The Searchers
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The SearchersFrom the Sight and Sound archive
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on Amy
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on AmyFrom the Sight and Sound archive
My father the hero: Víctor Erice’s El sur
My father the hero: Víctor Erice’s El surFrom the Sight and Sound archive
“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
“We will never see that Hollywood again”: Bette Davis, grande dame of cinemaFrom the Sight and Sound archive
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogy
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogyFrom the Sight and Sound archive
Godzilla mon amour
Godzilla mon amourFrom the Sight and Sound archive
Naked miracles: Lars von Trier on Breaking the Waves
Naked miracles: Lars von Trier on Breaking the WavesFrom the Sight and Sound archive
“Scorsese has become the threnodist of frustration”: After Hours reviewed in 1986
“Scorsese has become the threnodist of frustration”: After Hours reviewed in 1986From the Sight and Sound archive
Survival instincts: the cinema of Jaume Collet-Serra
Survival instincts: the cinema of Jaume Collet-SerraFrom the Sight and Sound archive
Only a dream: Gene Tierney
Only a dream: Gene TierneyFrom the Sight and Sound archive
“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972
“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972From the Sight and Sound archive
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain Women
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain WomenFrom the Sight and Sound archive
City of God: angels with dirty faces
City of God: angels with dirty facesFrom the Sight and Sound archive
“Dazzling entertainment that wants us to luxuriate in violence as we condemn it”: Fight Club reviewed in 1999
“Dazzling entertainment that wants us to luxuriate in violence as we condemn it”: Fight Club reviewed in 1999From the Sight and Sound archive
Out of oblivion: Alice Guy-Blaché
Out of oblivion: Alice Guy-Blaché