Now that its title has been changed from Bed of Fear (as it was called when I wrote about Stanley Kubrick’s last picture in Sight and Sound) to The Killing, one need really have no reservations at all. This shrewd, engrossing, complete-in-itself melodrama is the kind of film one had begun to think was no longer possible to make in Hollywood.
Sight and Sound magazine
In Last Tango there is a quite plain idea—it’s very nearly a film with a message: sex as an instrument of power divorced from tenderness or curiosity results in chaos and despair.
Vida Johnson and Graham Petrie recall the genesis of Tarkovsky’s original Solaris
Director Benjamin Ross, whose debut feature is The Young Poisoner’s Handbook, celebrates the drama of failure in Stanley Kubrick’s Barry Lyndon
For the first time, Studio Ghibli has collaborated with an outside animator, Michaël Dudok de Wit, and his breathtaking The Red Turtle proves a worthy heir to this Ghibli tradition
Hiromasa Yonebayashi’s When Marnie Was There transposes a classic of English children’s literature to modern-day Japan to tell the tale of an orphan discovering the dark secrets of her past, in what might well be the last in-house feature from the great animation house Studio Ghibli
Despite the absence of the kind of imaginative spectacle or battle sequences that galvanised Spirited Away (2001) and Princess Mononoke (1997), When Marnie Was There is expertly atmospheric. Its action is all contained within its emotional ebb and flow, as fierce as the tides that lap at Marsh House.
Novelist of ‘Nothing Natural’, Jenny Diski, watches a video of the first ‘Cape Fear’ and the Scorsese remake – and compares them
J. Hoberman’s review of “Cape Fear” (1991) by Martin Scorsese
by Don Daniels Stanley Kubrick’s films seem to provoke the kind of mindless praise and attack that is called ‘controversy’ these days. In the case
Philip Strick reviews ‘Strange Days’, the 1995 science fiction thriller film directed by Kathryn Bigelow. Published in ‘Sight and Sound’, January 1996
Sight and Sound review of ‘The White Balloon’, a 1995 Iranian film directed by Jafar Panahi, with a screenplay by Abbas Kiarostami
Debris and nightmare, madness and time preoccupy director Terry Gilliam in ‘Twelve Monkeys’, with a screenplay by the writer of ‘Blade Runner’. David Morgan visited the set
Revulsion against the body haunts the new film by David Fincher as it does so much current cinema. What makes ‘Seven’ distinctive? Amy Taubin explains
What has drawn Scorsese to mix a mafia story with a Biblical epic? The director explains
Aching desire and repression and guilt collide in Scorsese’s version of Edith Wharton’s ‘The Age of Innocence’
Review of Stanley Kubrick’s “Full Metal Jacket”, by Terrence Rafferty, in Sight and Sound, Autumn 1987
P.L. Titterington discusses the evolution of Kubrick’s style and the language of his ideas.
The young cult for Stanley Kubrick’s 2001: A Space Odyssey now has its HolyWrit. The second 70 mm. release of the movie was accompanied by a collection entitled The Making of Kubrick’s ‘2001’ and edited, with the cooperation of the director, by Jerome Agel.
Jonathan Romney looks for clues to Stanley Kubrick’s themes in The Shining’s Overlook Hotel (Sight and Sound, September 1999)
Eyes Wide Shut movie review by Charles Whitehouse, Sight and Sound, September 1999