shadows q&aAbout Shadows
A brief history...

A B O U T :

A film is more than mere celluloid that has been
exposed to light. It’s what happens to that celluloid
when light is applied again, casting shadows on the wall.

talk back to Shadows...

R I C H   C L I N E   &   S H A D O W S
Shadows on the Wall is the UK's first film ezine, published electronically since March 1995. But its origins go back much further....

A journalist by training, Rich Cline has been obsessed with cinema since he was about 8 years old. Born in Los Angeles, Rich moved with his family to Quito, Ecuador, at age 12, graduating from an international school then returning to Southern California for university. He earned a bachelor of arts in journalism/communication arts.

While a student, he started writing film reviews for a local weekly newspaper, but after graduation he had to get real, paying jobs as a graphic artist, copywriter and as a writer-editor for a variety of charity organisations.

Shadows on the Wall was first published in Los Angeles in September 1985 for a readership of 120. Even then the readers were located all across North, South and Central America; the Far and Middle East; Africa; Central Asia; and Western and Eastern Europe.

Rich continued publishing Shadows as a newsletter while living in Miami for six years and after he moved to England in May 1992. The Shadows ezine made its debut in March 1995; this website went online in October 1996. Over the following years, Shadows expanded to social media with the blog Shadows on the Web, @shadowsrich at Twitter, Shadows on the Wall at Facebook, and ukcline at both Letterboxd and Instagram.

shadows blog  shadows tweet   shadows tweet   shadows on letterboxd   shadows on instagram

online film critics society



the critics' code
P R O F E S S I O N A L   S T U F F
critics' circle, est 1913

Rich Cline is the vice chair of the UK Critics' Circle Film Section and the chair of the London Critics' Circle Film Awards. He is also a voting member of Online Film Critics Society, Fipresci and Galeca.

He served on Fipresci juries at the Abu Dhabi Film Festival 2014, Berlin Film Festival 2009 and Torino Film Festival 2006. He was also on the Venice Film Festival's 2016 Queer Lion jury, the Iris Prize Festival 2010 jury in Cardiff and the St Louis Film Festival's New Filmmakers Forum jury 1999-2001.

He is a regular film critic for BBC radio and television, Contactmusic and Boyz Magazine. And he has contributed as a critic, writer, editor and broadcaster to a variety of outlets in print (Metro, Daily Mirror, Heat, Grazia, QX, The Face, What's On London, The List, Idea, North Coast Journal, First, Take 1, Naviga*tor, Man About Town), radio (LBC, Century FM, Classic Gold, HCJB World Radio), TV (Channel 4, NBC/Bravo, Five, Sky News, PressTV) and online (Film4, Rotten Tomatoes, Film Threat, IndieWire, IGN, Film Focus, Real Movie News, Filmnet).

When not watching films or writing about them, Rich is a freelance journalist, editor, lecturer and designer. He has covered eight Olympic Games for radio and television outlets.

Criticism may be unnecessary. It is certainly inefficient.
But it is the only antidote we have to paid publicity.


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S T A T E M E N T   O F   I N T E N T

Shadows on the Wall
November 1985

  1. As an art form, film must accurately reflect our society if it is to teach us anything. I can't expect film characters to hold my moral standards any more than I can expect that of someone on the street. But I can look for overriding moral statements.
  2. Look at all aspects of a film: direction, acting, writing, pacing, lighting, editing, etc., including entertainment value. I'm seeking cinematic excellence, creativity and originality.
  3. Remember that it's just a movie. All of it. True stories are dramatised and documentaries can be slanted. Movies are not the stuff of life, just someone's opinion of it.
  4. Don't choose to see a film based on one person's statements. Even critics are only stating their opinion, nothing more. I may disagree with others entirely.
  5. Don't reject or select a film based on its rating or classification. Find out why it got that rating. There are fine, uplifting R-rated films, and atrocious, immoral G-rated ones. These classifications are not a reliable indicator of film content, merely a small group's opinion. (NB. In the US the Motion Picture Association of America rates films G, PG, PG-13, R or NC-17. The British Board of Film Classification certifies films U, PG, 12A, 15 or 18.)

A S K   A N Y T H I N G

© 1985-2018 by Rich Cline, Shadows on the Wall