Tuesday, December 24, 2013

Happy Holidays from the Cinemologists!

We at The Cinemologists wish everyone a Merry Christmas and a safe and happy holiday!

(Pictured: Peter Lorre and Sydney Greenstreet)

Saturday, December 14, 2013

RIP Peter O'Toole (1932-2013)


Acting legend Peter O'Toole has sadly passed away today at the age of 81. Instead of listing all his outstanding screen performances, we thought we'd share two of our favorite moments from his filmography and let his inimitable talent speak for itself.

From Lawrence of Arabia (1962):


From The Ruling Class (1972):

Sunday, December 8, 2013

Monster-Mania Con 2013

This past August, we stopped by Monster-Mania Con 2013 in Cherry Hill, New Jersey, and shot some footage of all the celebrities and happening events going on there! Featuring appearances by Malcolm McDowell, Danny Glover, R2D2, and more!

Saturday, November 30, 2013

What We've Been Doing

In case you're wondering why we haven't posted anything in a while, here's our excuse - er, I mean, reason!


Monday, October 28, 2013

Indiana Jones and the Temple of Doom... in 1940


Indiana Jones and the Temple of Doom is something of a divisive film in the franchise. Though most agree it's an entertaining romp jam-packed with classic sequences, some viewers are put off by the subjectively grating supporting characters, while others claim it's a little too dark and different for their tastes. Still others - myself included - love it for that very reason. It's a unique entry in the series with plenty of memorable moments.


One thing, however, has always struck me about Temple of Doom. It's not so much how different it is from the other two films in the series, but instead how similar it is to another story... Namely a story-line from the classic old time radio serial I Love a Mystery entitled "Temple of Vampires."

This is going to take some explanation...

Sunday, October 27, 2013

RIP Lou Reed (1942-2013)

Lou Reed, leading member of the Velvet Underground and singing voice for the one and only Mok Swagger from Rock and Rule (1983), passed away today at age 71.

Saturday, October 12, 2013

Seeing The Wizard of Oz in IMAX 3D


Ah... The Wizard of Oz.

It's about as close to cinematic perfection as it gets: luminous production design, clever special effects, a bevy of lovable characters, and plenty of good ole emotion. It's the kind of classic even a cold-hearted cynic like me counts as a favorite, despite my irrational hatred for musicals. Admittedly, certain elements do subjectively grate on me at times (the Munchkin Land sequence will never be a pleasant viewing experience for me), but the movie is so great I can't help but forgive those annoying 10 minutes in a millisecond.

So, when I heard about a re-release of the film in 3D and IMAX, I was naturally very dubious. Tampering with an old classic always raises some red flags in my mind, especially when the original filmmakers and stars are long gone and can't defend their work. And, to make matters worse, I cannot, in any way, shape, or form, be called a fan of the 3D format. More on that later.

Because of this, you might be surprised to hear that I actually thought the 3D version of The Wizard of Oz was pretty good. In fact, I thought it was borderline excellent.

Wednesday, September 18, 2013

Why I Love Cel Animation (Specifically in Anime)


I’ve heard a lot of talk about how anime today are so “detailed” and “beautiful”.  For me it’s hard to see it, at least when I compare it to cels.  In my opinion Japan made the most gorgeous cels, in their detail style and color.  Their appeal for me goes much farther along than with digital coloring. 


Within each single shade, there are what I like to call permutations within the colors.  When animated, going from cel to cel, you can see a sort of flicker of life between then.  There are endlessly more colors inside the apparent one than there would be in the flat colorization of tra-digital anime.  The colors are so rich in cel animation, they can’t just be copied.

Tuesday, September 17, 2013

Joel's Top 3 Cinematic Dragons


I was thinking about opening this article with some sort of thoughtful essay on dragons and their place in popular culture, but you know what? That's basically unnecessary. Dragons are cool. Everyone knows it. Here are my three favorites. So there.

Tuesday, August 27, 2013

Dream, After Dream (Yume, Yume No Ato): A Movie Mystery


What is Dream, After Dream?

This is one of the more compelling movie mysteries I've come across in a while. Yume, Yume No Ato is a Japanese feature film from 1981. The movie is notable in that it features an awesome soundtrack composed by Journey during the height of their fame. According to the New York Times website, it is a fantasy feature and runs 101 minutes:

"In this fantasy tale that aspires to the effects of a dreaming state, a young man (Enrico Tricarico) starts off on a quest for happiness, heading south as a wise astrologer told him to do. He has a few mishaps along the way through a mix of scenery, but finally arrives at an ancient castle where two mysterious women live - Tsuki (Anicee Alvina) meaning "Moon," and Yuki (Anne Consigny), meaning "Snow." Both women fall in love with the young man, a literally transforming experience that causes them to start running around and flapping their arms and growing feathers - it turns out they are really birds and true love has freed them at last. Meanwhile, the young man has to face his destiny and after the avian extravaganza, he may have some cause for worry."

And that's it, and I don't just mean for that website. I'm practically talking about the entire internet. A Google search reveals no posters, screenshots, or similar images aside from the Journey album cover. IMDB has zero user reviews and an eerily quiet forum section, icheckmovies.com lists the film but features no users who have even claimed to see the film, and YouTube features no clips from the movie. No home video release appears to have been put out. The film's soundtrack, though composed by one of the most famous acts of the 1980s, isn't even available in the US. Amazon.com lists the soundtrack as an import, apparently of Japanese origin. The official Journey website is even more vague with regards to the film, basically saying that it's a Japanese film with the same title as the album.

So, my question is... what is this movie!?! Okay, I take that back. I have way more questions. Why is it so hard to come across? Is it any good? How did Journey get involved with the soundtrack? Why is that so hard to get a hold of in America? It's Journey, for crying out loud! They hold the record for the best selling song on iTunes, and no one knows about the movie they composed an entire album for. Even if a popular band gets involved with a train wreck of a project, those things aren't forgotten. At best, it would make for 80s talk show comedy fodder, and, at worst, a sarcastic Internet reviewer or two would have posted a linear riff-review of the movie by now. You'd think the same technology that can conjure up a cologne commercial directed by Nobuhiko Obayashi and starring Charles Bronson could at least give me something to go on. But no... All seems silent in the digital realm.

On the one hand, I have to wonder if the movie's even worth watching, since it seems no one remembers it. On the other hand, judging by that short synopsis, it almost sounds like a sort of stream of consciousness, Black Moon kind of movie. If that's the case, it might be really awesome, and it might also explain why the movie is so forgotten and overshadowed by the soundtrack... A wide audience coming to see a film with Journey's name attached to it would probably be alienated by such an unusual, artsy movie. But I'm just speculating now. If anyone has any information on this film, please share! Even a copy of the liner notes for the album would be welcome, as I can't find that online either. In the meantime, the music isn't too hard to come across, and it is really awesome!



UPDATE:


After some digging around, I was able to find a single image related to the film. It appears to be a theatrical poster or promotional pamphlet (possibly included as an insert in the Journey album?). Again, any information related to this image or its origin would be appreciated.

UPDATE 2:

Thanks to Lionel over on the Facebook page, I was able to get a hold of some honest-to-goodness pictures from the production and apparently pre-production of the film! These are from a French film site, which I'm guessing is the reason why I wasn't able to find them with a Google Image search using the movie's English or Japanese titles.

Lionel informed me that the black-and-white image is actually from a dress-fitting/rehearsal and not from the filming itself

Some additional research on the film's crew showed that Dream After Dream was the sole film directed by famed Japanese fashion designer Kenzo (the gentleman with the glasses in the above pictures), based on a screenplay by him and an enigmatic individual named Xavier De Castella. Kenzo is a pretty well-respected fixture in Japanese fashion, so tracking him down was pretty easy. However, I still can't definitively find out who the other screenwriter is. I was able to find a single picture of him on a blog being quite friendly with Paloma Picasso, so, judging by that blog's content and Paloma Picasso's presence, I can only assume Mr. De Castella is another fashion designer. The mystery deepens...

Friday, August 9, 2013

A Visit to the Museum of the Moving Image

Back in 2011, I went on a field trip while attending the Delaware College of Art and Design.  This field trip was to Astoria in Queens, over in New York City, to see the Museum of the Moving Image.  The museum covers anything that has to do with moving art, from installation pieces to the movies.  The latter was what brought us there.  On view was an ongoing exhibit called Behind the Screen which covered motion pictures in all aspects of it's history, from zoetropes to television.  Needless to say, I had my trusty camera on hand and took plenty of pictures from the spectacular exhibit:


Above are Technicolor (left) and Mitchell (right) cameras.  The Mitchell had the film running horizontally past the aperture, since it was used to shoot films in "Vista Vision", this gave a bit more detail to images.  Hitchcock used this for many of his films later in his career.  The Technicolor camera used three separate strips of color film, exposed simultaneously using a prism to get images with unbridled hues.

Wednesday, July 24, 2013

Orca (1977): Vengeance on the High Seas


Orca is a 1977 film, made in the wake of the formidable box office success of Steven Spielberg's Jaws, that features a killer whale out for revenge against the fishermen that killed its mate. Don't worry. It's actually better (and more emotionally traumatizing) than it sounds.

Tuesday, July 16, 2013

Joel, Y2K, and Alex Discuss Pacific Rim

Joel, Y2K, and Alex drink milkshakes and talk about the new giant robot vs. monster movie from Guillermo del Toro!

Saturday, June 22, 2013

Joel and Alex Discuss World War Z

How do you make a PG-13 zombie movie? By hiring a terrible camera operator, of course!

Saturday, June 15, 2013

"Nothing Matters But the Music!"

When people discuss the greatest movies of all time, they tend to point out certain aspects that make them great: the cinematography, the performances, the story and so on.  However, one aspect that is seldom attributed as much importance as it needs is the music.  When one considers the "Top Critically Acclaimed" films of all time, or just the general favorites like Star Wars or The Godfather, think what certain scenes would be like with no music at all.  True, the lighting and camera movement and performances can be compelling in and of themselves, but ultimately, they are stagnant compounds, waiting to be activated by music.  I've found that many people these days say that there aren't any images that stick with you in today's movies.  I believe the reason for this is because there aren't any musical scores that provide memorability.  In the documentary Hollywood, theater musician Gaylord Carter says: "You take the image of the picture, the reaction of the audience to this image, tie it together with the music and you really have a kind of a happening."  This is in reference to silent cinema, but it is what made that era so great, the purest marriage of image and music.  After all, Thomas Edison invented motion pictures to accompany the music from his recordings!  The truly memorable films are made indelible by their musical scores.

Monday, June 10, 2013

The Story of Film: An Odyssey (2011)


With so many different documentaries that have been made about the history of film, it's hard to imagine anything being fresh or having new perspective.  I was hard pressed to find such a program, but while looking through Netflix, I found just that.  The Story of Film: An Odyssey takes a very different approach, one that injects some wonder back into the idea of a documentary on film history.

Most documentaries take a brisk walk through the story of film, highlighting some of the obvious, important films that one may be more acquainted with.  Yet, The Story of Film uses in it's opening, the beach scene from Saving Private Ryan (1998) to help demonstrate that this series of documentaries will have more of a thesis on the history of film.  Instead of just outlining history, it delves into it and cross references it, comparing examples from every era at once.  Not only is this the story of Hollywood, but the story of film in Europe, eastern Europe, Bollywood, Japan, even Africa, which often goes unmentioned in film histories.  It even mentions animation and the change Disney underwent at the advent of Xeroxing cels.  All of this gives a much broader perspective to the ideas that are being put forth.  Assisting the many films used as reference is live action inserts shot for the documentary in many places around the world as well as interviews with many important filmmakers.  

This series could have had some kind of pompous narrator and that is indeed what I was expecting to hear, but instead I was somewhat shocked to hear a soft, Irish accented voice talking a most informal, colloquial manner.  The narrator is Mark Cousins, who had written a book on which the series was based.  In some ways his narration is awkward, but only at first, and if you're expecting the traditional.  Yet this is anything but a traditional documentary.  If anything it feels like a college lecture series and that can be a good or bad thing, depending on your tastes.  Also beware, this documentary has an opinion, so it certainly may feel like a college lecture at times.

Personally, I think this is a wonderful documentary.  It exposes one to many many different films you may never have heard about or reexamines ones you were thoroughly familiar with in ways that make you see them in a different light.  It's definitely the best to come out since Hollywood A Celebration of the American Silent Film.  (Speaking of which, this documentary uses some footage and interviews from that series) Go check it out!


Tuesday, May 7, 2013

Ray Harryhausen 1920-2013

Today the cinematic community has suffered a great loss.  Ray Harryhausen has passed away at the age of 92.  The man's service to special effects, animation and fantastic cinema is inestimable.  Ever since he was a kid, he was constantly playing around with camera trickery.  This never ceased through his adult career.  All the films he worked on were somehow shaped, visually by him.  Ray would plan and sketch out any number of exciting illustrations for proposed scenes in the film.  Whether it was the fiendish Hydra from Jason and the Argonauts (1963), or the Kraken in Clash of the Titans (1981), everyone agrees that Ray made those creatures the stars of the films.  He even developed Dynamation, which was an extremely innovative process for integrating stop motion animation and live action, among other effects.  Most impressive was that Ray did all of this stop motion animation on his own, from designing and fabricating the puppets, to filming them.   Even though he never directed any of the films he worked on (save for short films early in his career), everyone remembers those movies as "Ray Harryhausen films".  He was always held in high esteem by his colleagues and is fortunately well known for his work.  I myself have admired him since I was a kid.  Farewell, Ray, you will be missed sorely.

I've posted this video here before, but if you haven't seen any of his stuff before, (you probably have and didn't know it) this is a great collection of all his monsters:



Wednesday, April 3, 2013

Dear Future, Don't Take Our Film Away


With the recent announcement that Fujifilm will officially end its production of filmstock, it seemed about as good a time as any to discuss this.
 
The film vs. digital debate has gone on for quite a while, whether it be in a film school classroom, message boards, a documentary, or through directors loudly and actively "quitting" film, and both sides have done an admirable job in making their arguments heard. In case you're wondering what I think (though you're probably not), I'm very much for film, and it's my hope that, if and when I do find myself in the director's chair, I will be shooting 35mm. However, from Kodak's declaration of bankruptcy to Martin Scorsese's decision to shoot his latest picture digitally after being a film advocate for years, the seemingly constant barrage of depressing film-related news is hard to ignore, if occasionally overblown.

Quite frankly, I consider the articles and commentators that ponder whether 2013 is the last Oscars that film-shot movies will feature in to be fairly idiotic. There are still plenty of filmmakers that are shooting film, many of whom are extremely well-respected and influential people. The use of film is still popular in major film schools as well, so even the next generation is already working with it.

Now, it wouldn't be too difficult to explain the merits of film. I could go on about how only film possesses true black levels, how digital scanning can't capture the full image quality of a well-shot and preserved 35mm or 70mm movie, how only the film format exists in the real world and engages audiences in a visceral way that digital projection can't even begin to match. But the simple fact of the matter is... that's not ultimately what's important here.

What matters is that there are hundreds of up-and-coming filmmakers and film students that WANT to shoot film (I only hesitate to say thousands because I don't have the hard data to back up such a momentous, though plausible figure). Some of them are doubtless going to be great artists... maybe another Welles or Tarkovsky; who knows? Regardless, the movie world has no right to deny such people creative expression through whatever medium they choose.

This is what ticks me off about some film professors and technical experts putting down film-lovers as change-hating fogeys or hipsters, no different from those who advocate vinyl records over MP3s (by the way, that's almost an exact quote from one of them, not my own words). Such ignorant and narrow-minded venom is a sign of our modern age, one that seems to advocate open-mindedness but ultimately comes down to "agree with me or you're wrong." I have no problem with digital technology in movies. Filmmakers like David Fincher and Ridley Scott have done marvelous work with digital video, just as Quentin Tarantino and Wes Anderson are currently doing in film. Quite frankly, I'm blown away by some of the possibilities of the new tech, my favorite being the use of digital compositing in special effects: far more efficient, clean, and seamless than optical compositing. I can even understand the love that people have for digital video, and I agree with many filmmakers that the relatively low price point of commercial-grade digital camcorders has gone a long way to establishing new artists who could never have afforded to realize their visions otherwise. I'm excited about the new possibilities, and I would never label those who choose to work in a purely digital workflow as film-killing nerds...
 
Except for maybe James Cameron... but come on! He had it coming!
 
I will, however, say this: To those who are saddened by the precarious position of celluloid these days, be vocal about it! Whether it means signing a petition, attending 35mm screenings, actively going out and watching movies shot on film, or shooting your own projects the same way (seriously, Bolexes and 16mm stock aren't that expensive) there is something you can do to keep film alive. And to those who are advocating digital, please understand that this is not a black-and-white argument. If you believe digital is the future, that's great, but know that there are incredibly important merits to shooting on actual filmstock as well, and, beyond that, there are artists and visionaries to whom that medium is integral to telling their stories. Celluloid is a vital piece of film history and a vital tool in filmmaking, and it would be an unnecessary and heartbreaking tragedy to lose it now.

Wednesday, March 27, 2013

Saturday, March 9, 2013

Equinox (1970): A Journey into Movie Magic

 
In the mid-1960s, a group of kids, including future eight-time-Oscar-winning special effects artist Dennis Muren (Star Wars, Raiders of the Lost Ark, Jurassic Park), decided to make a monster movie. Using money he originally received for his college tuition as the budget, Muren, along with future stop-motion legends-to-be David Allen and Jim Danforth, made The Equinox: A Journey into the Supernatural, a low-budget but incredibly influential horror movie that no genre fan or special effects enthusiast should miss!

Monday, March 4, 2013

I Am Cuba (1964): Two Scenes


From director Mikhail Kalatozov and cinematographer Sergey Urusevsky (the same team that made the Palme d'Or-winning The Cranes Are Flying and the adventurous and chilling Letter Never Sent), here are two scenes from I Am Cuba, featuring some of the most dynamic and astonishing visuals ever put to film. Some of those visuals were shot on location during the Cuban Missile Crisis. This scene, the opening of the film, required the camera to be equipped with a coating of submarine periscope cleaner. You'll see why as it unfolds.



Even more impressive is this funeral procession sequence. I won't even try to explain how it was accomplished...
 

Thursday, February 28, 2013

The Blob (1988) An Exemplary Remake


A sign of these cinematic times is the flood of remakes that people rightly complain about to no end.  Certainly this is no new thing, but many maintain that older remakes seem to have been mostly very good.  This is especially true of three remakes done in the 80s: John Carpenter's The Thing (1982), David Cronenberg's The Fly (1986) and the 1988 remake of The Blob, directed by Chuck Russell.  The latter is much more underrated than the former two, so I've decided to talk about it today.  Even for somewhat older remakes I'm skeptical because the very idea of a remake is dubious in that you're simply retreading an older story, cashing in on the name recognition and nostalgia that people have with the original.  That is exactly what bad remakes do, so what exactly does a good remake do?  It takes the original plot and makes it it's own, embellishing or expounding certain elements to make it stand out on it's own.  The Blob is just such a film, it's not constantly winking to the audience with cute references to the original, making you wish you were watching that instead.  You can tell the filmmakers respected the original and that the project was something they genuinely wanted to make.  It keeps focused straight ahead and does it's own thing.  My first attraction to this film was from the knowledge of it's special effects, but I didn't expect to be impressed by the story or the characters.  However, I was.
It's such a surprise this film isn't more well regarded.  It is immensely enjoyable from start to finish.  One thing the film especially has going for it is the element of surprise.  You are in real suspense about who will survive and who is a friend or an ally.  There are plenty of great setups and payoffs, some even used to good, comedic effect.  The majority of the cast is very likable, you really want these people to get through the ordeal.  I don't know exactly when horror movies got the idea that people should hate the main characters instead of root for them.  Shawnee Smith gives a compelling performance as Meg, a cheerleader who ends up a believably strong character.  There's some very convincing emotion from her when faced by the multiple horrifying scenes in the film, including several quick moments or line deliveries that add to her character.  Other actors like Kevin Dillon and Donovan Leitch are memorable in each of their roles and stand out as individuals, not merely blending into the rest as cutout characters.  There's also plenty of supporting characters who are still distinct from one another and gain sympathy with their short time onscreen.  It was written by the director and Frank Darabont, who went on to write The Shawshank Redemption.  I was pretty much leaning forward in suspense towards the end of the climax, which kept upping the ante.  The plot has been changed to incorporate the idea that the Blob is actually a government biological experiment gone awry.  This has obviously been done before, but the presence of the military is not painted in a totally negative light, with the main characters helping one of the soldiers at one point.
Now, the Blob itself is a quite a marvel.  The ambition of the effects and the way they're pulled off give the sense that the thing can do almost anything, adding to the suspense.  This is a great example of special effects complimenting the story.  The iconic scene in the movie theater is wonderfully executed, going over the top with the effects as only the 80s would.  The Blob is also much faster in this version, utilizing tentacles and even speeding along a ceiling.  Of course the makeup effects for the Blob's victims are cringe inducingly effective.
It's another highly impressive example of amazing practical effects.  If there was one thing I'd fault the film on, it would be the sometimes sub par synth score.  Yet it's what I would call a very solid film, especially with the cliffhanger ending, which I won't spoil here.  Highly recommended, check it out and Beware of the Blob!
Pictured: One awesome gal.  

Saturday, February 23, 2013

Spacescapes: The Ship Designs of Starcrash (1978)


As I mentioned in my very first video review for the Cinemologists, I absolutely adore Luigi Cozzi's Starcrash. It's a camp masterpiece: lovingly made, incredibly fun, and stunningly stylish. One of my favorite aspects of the film is the glorious outer space sequences, featuring a sci-fi vista that is at once visually arresting and totally unforgettable. The Christmassy void that comprises space in the film is lovely, and I can't help but let out a sigh every time the story takes us there. However, such a view would be incomplete without some super cool spaceships, and Starcrash delivers the goods! These vehicles were, for the most part, designed, built, and filmed by Armando Valcauda, a talented Italian special effects director, and his valuable contributions should not go unnoticed! Let's have a look, shall we?

Friday, February 15, 2013

Condorman (1981) Intrada Soundtrack Review


Condorman is a wonderfully charming Disney adventure flick and a personal favorite of mine, and I have very fond memories of watching the VHS clamshell edition back in the day. Naturally, when I heard that Intrada, the same company that released the complete score of The Black Hole, would be releasing Henry Mancini's (Charade, Breakfast at Tiffany's, The Pink Panther) score for the film, it was only a matter of time before I purchased it.

Sunday, February 10, 2013

The Eve of the Bombing

In this short film, directed by The Cinemologists' Alex Lattanzi, a young soldier recalls a moment from his past while clearing out a building on the eve of a bombing.



And here is the film with commentary by writer/director/star Alex Lattanzi!

Friday, January 25, 2013

The Cinema of the Deep


In the second half of the 20th century, there was a period of steadily increasing discoveries in a realm which is still heretofore largely unexplored: the deep ocean.  It is a realm that covers the earth, yet may as well be as distant as the moon.  With pressures that would crush a man flat in seconds, it is surprising that this environment is actually host to an astounding amount of life.  Yet, as is a common figure to bring up, only about 2% of it has actually been explored.  What in the world does this have to do with the cinema?

Wednesday, January 23, 2013

Moonraker (1979): Bondian Ascension

 

Out of all the movies in the long-running, wildly successful James Bond franchise, the most unappreciated entry has got to be Moonraker. This film, made during the swell of space madness that followed Star Wars, quite literally took 007 to outlandish new heights. An investigation into the disappearance of the Moonraker space shuttle leads Bond into outer space, complete with disco-accented laser battles, unbelievable Ken Adam sci-fi sets, and some of the rockin'est special effects ever put to film.


For this reason, among others, many have looked down on the movie, calling it silly, stupid, terrible, and, depending on who you ask, the worst Bond film of them all. Forgetting for a moment that you'd have to be a pretty Grinchy individual to not enjoy Moonraker's bombastic ridiculousness (and that anyone who said Moonraker is the worst Bond film could not have seen Die Another Day), it's unfortunate that such immediate and total dismissal has kept people from seeing the movie's importance to the Bond canon overall. The movie fits into and culminates an arc that had been percolating since Dr. No, for better or worse.

Friday, January 18, 2013

The Cinemologists at KotoriCon

In this action-packed coverage of KotoriCon in Gloucester County, New Jersey, the Cinemologists have their hands full interviewing cosplayers, eating Pocky, and getting depressed. Special thanks to the staff and cosplayers of KotoriCon for being so cooperative and helpful during the filming of this video!


Link to David McCrae and Becca Bean's website: http://www.papertulipstudio.com/

Link to Brittany Phillips's (who cosplayed as Madoka) Facebook page: http://www.facebook.com/AlterEiko

Monday, January 14, 2013

What Makes an Actor "Brave"?


I've been seized by the desire to speak candidly on a subject that's gotten some attention in the press lately.  Apparently several actors have been referred to as "brave", most recently at the Golden Globes. There it seems that by simply doing a good performance or something which has social relevance they are considered brave.  Well to be frank, I couldn't disagree more.  Its not that "brave" to take a role which might be slightly controversial or political, because its not as if these people have their careers to worry about from this.  Also, the ideologies of the movies they star in usually have the general consensus in Hollywood, so the entire idea of calling them brave is a little peculiar to me.  You know who real brave actors were?

Sunday, January 13, 2013

The Cinemologists at KotoriCon Promo

While we're hard at work editing the full version, here's a taste of our action-packed trip to KotoriCon in Gloucester County, New Jersey!

Monday, January 7, 2013

Cygnus Broadcasting Station: 80's Sci-Fi with Zaranyzerak

This time on the Cygnus Broadcasting Station, we discuss 80's science fiction with a very special guest star, Sean McLean a.k.a. Zaranyzerak!



Zaranyzerak's YouTube page: http://www.youtube.com/user/zaranyzerak
Zaranyzerak's Facebook page: http://www.facebook.com/ZaranyzerakOfficial?fref=ts
Zaranyzerak's website: http://zaranyzerak.com/

Y2K's YouTube page: http://www.youtube.com/user/truelyrandomman
Y2K's new blog: http://culturephoenix.blogspot.com/

The Cinemologists' Facebook page: http://www.facebook.com/pages/The-Cinemologists/184695321608813?fref=ts

Alex's YouTube page: http://www.youtube.com/user/enemyofbohemia

Joel's YouTube page: http://www.youtube.com/user/thecollector1138

Friday, January 4, 2013

Midnight Screening: The Cinema Snob Movie

Joel, Alex, and Y2K take a look at the latest comedy flick from Brad Jones and Ryan Mitchelle, set in the cutthroat world of film snobbery!