The latest Sight & Sound is out, complete with the following pieces by me:

• Brothers in arms (p. 12) – my contribution to the ongoing ‘Lost & Found’ series, whose contributors are given a page to extol the virtues of a film that’s been neglected for far too long – I picked Paolo & Vittorio Taviani’s 1974 film Allonsanfàn, and the piece is also available online.
• After the Apocalypse (p. 56) – review of Antony Butt’s sobering documentary about the social, cultural and biological aftermath of four decades of nuclear testing in Kazakhstan.
• Yu-Gi-Oh! 3D – Bonds Beyond Time (p. 82) – loud, shouty and (for non-devotees) borderline incomprehensible Japanese sci-fi animation.
• Apocalypse Now (p. 85) – review of Optimum’s amazing three-disc Blu-ray that combines both cuts of the main feature with the documentary Hearts of Darkness: A Filmmaker’s Apocalypse and much more besides;
• Films by Ozu Yasujiro (p. 88) – namely, the new BFI dual-format editions of Late Autumn (1960) and An Autumn Afternoon (1962) plus the supporting features A Mother Should Be Loved (1934) and A Hen in the Wind (1948);
• Taxi Driver (p. 90) – Sony’s outstanding new Blu-ray crams in pretty much everything you could conceivably want, including an onscreen trivia track for people like my mother-in-law who always needs to know what else someone has been in;
• Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties (p. 93) – review of Jonathan L. Owen’s excellent book about the relationship between the Czech and Slovak avant-garde and the New Wave filmmakers of the 1960s, revealed more often by common artistic preoccupations than close personal relationships.