How a British film magazine redefined movie journalism with a simple, fun philosophy

How a British film magazine redefined movie journalism with a simple, fun philosophy
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In short: Launched in 1989, Empire magazine set out to treat cinema as both high art and pure entertainment. By committing to review every film released in UK cinemas, it quickly became a cultural staple. From celebrity-testing questions to cryptic spine quotes, Empire transformed how audiences engage with the silver screen.

The origins of Empire lie in a one-page proposal by David Hepworth, who sought to create a film-focused counterpart to the successful music magazine Q. Published by Emap and edited by Barry McIlheney, the first issue appeared in May 1989, featuring Great Balls of Fire! on the cover. The magazine’s core philosophy was simple: movies might occasionally be art, but they should always be fun. This approach resonated with readers, helping the publication hit its initial sales target of 50,000 copies.

Empire’s editorial identity is built on a mix of rigorous reviewing and idiosyncratic features. While the magazine covers both mainstream and art-house cinema, its feature articles lean toward the former. Reviewers use a five-star system without half-stars, a standard maintained since the beginning. Beyond the reviews, the magazine introduced unique columns like 'How Much Is a Pint of Milk?', which asks celebrities mundane questions to gauge their grasp on reality, and the 'Spine Quote', a monthly puzzle where readers connect a challenging quote on the magazine's spine to the issue's content.

Over the decades, Empire has expanded its footprint through various media and events. It launched The Empire Podcast in 2012, which later won a British Podcast Award in 2022. The magazine also hosted the reader-voted Empire Awards from 1996 until 2018. The publication has seen several editorial shifts, including the tenure of Phil Thomas, who joined at inception and took over as editor in 1993. Today, it remains a significant voice in film criticism, balancing the deep analysis of its 'Masterpiece' essays with the obscure horror reviews found in Kim Newman’s 'Movie Dungeon'.

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