PODCAST: 2018 Oscar Nominees [Electric Shadows]

In Episode 38 of The Electric Shadows Podcast, Robs Daniel & Wallis provide their take on the 2018 Oscar nominees.

They run through what they agree with – hello Get Out, The Shape of Water, Three Billboards, Lady Bird.…

PODCAST: Our top 10 films of 2017 [Electric Shadows]

Rob Daniel and myself do a proper Universe crossover, running through their respective films of the year lists, scoring them and coming up with a definitive Electric Shadows and Of All The Film Sites Top 10 Films of 2017.

It’s the only Top 10 you’ll need this year.…

My 15 Best Films of 2017 (& 5 of the Worst)

Well, it’s that time of the year again, namely the end; a time for rundowns and summations, a time for best ofs and worst ofs, when the generally indifferent just slips away.

2017 has, on the whole, been an exceptional year for film or at least the type of films I tend to enjoy; which is to say, ones about with sensitive characters experiencing lots of little feelings.…

PODCAST: Dunkirk, Valerian, WftPotA, & Baby Driver [Electric Shadows]

In Episode 27 of the Electric Shadows Podcast, myself & Rob Daniel take a deep dive into Christopher Nolan’s latest, the extraordinary Dunkirk – what makes it the best film of the year (for at least one of the Robs), why the different timelines work so well, why R&R both wholeheartedly recommend seeing it in IMAX, and a whole lot more.…

REVIEW: Dunkirk; or my thoughts on time & tide in Nolan’s masterpiece of immediacy and magnitude

Christopher Nolan is arguably the foremost British director of his generation, certainly when it comes to visionary blockbusters.

As such, it seems strange that he should follow the – literal – universality of 2014’s Interstellar with a film that seems, on the face of it, so self-contained; parochial even.…

RETROSPECTIVE: The Battle of Algiers, or The Revolution Will Not Be Simplified (Christopher Nolan Presents @ BFI)

The Battle of Algiers is perhaps the timeliest film about terrorism ever produced – from half a century ago.

When it was first released back in 1966, Gillo Pontecorvo’s depiction of the eponymous conflict was both praised and condemned for its scrupulously balanced presentation of terrorist and government atrocities during the French occupation of Algiers.…