Downfall charts Hitler’s final days in his bunker, and ‘creates the most authentic sense of claustrophobia and apprehension that has ever graced a cinema screen’, according to James Walkerdine. Find out why he holds it in hight esteem
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3D is the latest, and potentially clumsiest and least effective in the cinema’s attempts to wow an audience with images, says James Walkerdine. The development of the Cinema of Attractions to 3D is one of technological attraction – but if 3D is so good why keep 2D? 
The opening of the films of the life of criminal Jacques Mesrine, played by Vincent Cassell, Killer Instinct and Pulbic Enemy Number 1, highlights the merging of fact and fiction. James Walkerdine explores further 
James Walkerdine loves the remakes of The Fly and The Thing, but refuses to watch the remake of The Ring; Dark Water or The Grudge. And what about Hitchcock and Haneke, who remade their own films. James investigates… 
Cornwall’s James Walkerdine investigates the British New Wave and Lindsay Anderson’s if… which shied away from focusing on the working class but analysed how the upper-class exist and function, while at the same time it exposes the humility, brutalism and oppression that boarding school brought during Swinging Britain. 
Cornwall’s James Walkerdine looks at the birth of contemporary terrorism film and an example of it, the movie Right at Your Door 
Paolo Sorrentino is director who is constantly blurring the lines between the character and their surroundings to create a sonic and visual sphere that engulfs you for the shortest amount of time, according to James Walkerdine 
James Walkerdine takes a look a documentary – Michael Moore’s Roger and Me in particular and finds himself feeling a little left out with Moore’s style 
One is never enough and less is never more, says D+CFilm columnist James Walkerdine on the business of film franchises. Are we getting lazy with our diet of sequel after sequel? |
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