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  • Street Fighter

    ‘Street Fighter’ Is a Big, Silly, Confused 90s Throwback

    October 21, 2026
  • Wildwood

    ‘Wildwood’ Is the Film LAIKA Was Built to Make

    October 20, 2026
  • You Can See Everything

    ‘You Can See Everything’ Is the Documentary of the Decade

    October 15, 2026
  • The Social Reckoning

    ‘The Social Reckoning’ Is Admirable and Out of Touch

    October 14, 2026
  • Digger Disaster

    Is ‘Digger’ Really A Disaster?

    October 12, 2026
  • 2026 Best PNW Award

    Seattle Film Critics Society Announces 2026 Best Pacific Northwest Film Award Nominees

    October 9, 2026
  • ‘The Social Reckoning’ Trades Incisive Commentary For Woeful Optimism

    October 7, 2026
  • Verity

    ‘Verity’ Is Light, Semi-Trashy Fun

    October 1, 2026
  • Digger

    Digger Review: Stunning Spectacle, Hollow at Heart

    September 30, 2026
  • Primetime

    ‘Primetime’ Is a Fine Debut with an Outstanding Robert Pattinson Performance

    September 24, 2026

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The Cinematropolis
The Cinematropolis
Cinematropolis Podcast Featured The Cinematic Schematic
‘Street Fighter’ Is a Big, Silly, Confused 90s Throwback
October 21, 2026

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Featured Mini-Review
‘Wildwood’ Is the Film LAIKA Was Built to Make
October 20, 2026

Continue Reading

Featured Mini-Review
‘You Can See Everything’ Is the Documentary of the Decade
October 15, 2026

Continue Reading

Cinematropolis Podcast Featured The Cinematic Schematic
‘The Social Reckoning’ Is Admirable and Out of Touch
October 14, 2026

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    deadCenter 2018 Film Festivals

    Daughters of the Sexual Revolution: A Fond Reflection on Cheerleading History – deadcenter 2018

    June 9, 2018
    Daughters of the Sexual Revolution

    From their inception in the 1960s, the Dallas Cowboys Cheerleaders were no different from any other professional teams’ cheer squad — paper megaphones, simple chants and matching non-revealing uniforms. They didn’t have a halftime show and they didn’t receive much attention because attendants strictly wanted football. That is, until…

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    deadCenter 2018 Featured Film Festivals The Cinematic Schematic

    The Grave – A deadCenter 2018 Talk with Kyle Roberts

    June 8, 2018
    The Grave
    https://media.blubrry.com/thecinematicschematic/www.thecinematropolis.com/wp-content/uploads/2018/06/The-Grave-Final_mixdown.mp3

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    The Grave

     

     

    Guest Kyle Roberts

    Director of The Grave

     

     

     

    Director Kyle Roberts joins The Cinematic Schematic to talk about his experience working on the recent Noir superhero pilot, The Grave. Kyle discusses Oklahoma’s 1920s history with underground crime in addition to the exciting challenges he tackled with the…

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    Essays

    ‘Ghost World’ Illustrates the Plight of the Millennial Outcast

    June 7, 2018
    Thora Birch in Ghost World

    Sometimes, coming of age feels like an endless stroll around a cul-de-sac. The analogy is all the more terrifying when actualized. All June long at The Cinematropolis, we will look at coming of age stories that have shaped the world we live in today.

    Last year, Greta Gerwig’s

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    deadCenter 2018 Featured The Cinematic Schematic

    The Jurassic Games – A deadCenter 2018 Talk with Ryan Bellgardt

    June 7, 2018
    Jurassic Games
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    Gremlin

     

     

    Guest Ryan Bellgardt

    Writer / Director / Producer of The Jurassic Games

     

     

    Writer/director/producer Ryan Bellgardt rejoins The Cinematic Schematic to talk about his experiences making his most recent visual effects extravaganza, The Jurassic Games, in Oklahoma. He also discusses how to balance the fun premise, the…

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    deadCenter 2018 Featured Film Festivals Interviews The Cinematic Schematic

    You People: A deadCenter 2018 talk with writer/director Laron Chapman

    June 6, 2018
    You People
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    You People

     

    Guest Laron Chapman

    Writer / Director / Producer of You People

     

    Guest Yousef Kazemi

    Executive Producer of You People

     

    Writer/director/producer of You People and The Cinematropolis contributor, Laron Chapman, rejoins The Cinematic Schematic podcast along with executive producer Yousef Kazemi to talk about their social…

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    deadCenter 2018 Featured Film Festivals

    What to Watch at the deadCenter 2018 Film Festival

    June 4, 2018
    deadCenter 2018

    deadCenter Film Festival, the premiere spot for independent film in Oklahoma, is set for June 7th through June 10th this year. With every year that Oklahoma City grows, deadCenter gets even bigger and better with 2018 looking to be a continuation of the previous years’ success. deadCenter is the epicenter of…

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    Essays Featured

    Solo’s Film Score is the Most Interesting Thing Happening in the Movie

    June 4, 2018
    Solo

    The most interesting thing that happens in Solo is a two second music cue you may have missed in the first third in the movie. I’m serious. Despite that very spoilery surprise cameo at the end of the film, this tiny…

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    Featured The Cinematic Schematic

    Deadpool 2 VS Summer Blockbusters – The Cinematic Schematic #6

    May 31, 2018
    Deadpool 2
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    Time Stamps

    2:01 – Deadpool 2 Review

    27:17 – Deadpool 2 Spoilers

    53:13 – ‘Sound Trek’ with Alexandra Bohannon – The evolution of film scores in superhero blockbusters

     

    The Cinematic Schematic closes out our May theme of Blockbusters at The Cinematropolis with a review and deep-dive discussion covering of one of the most anticipated…

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    Essays Featured

    ‘It’s a Mad, Mad, Mad, Mad World’ Demonstrates the Plague of Ambition

    May 21, 2018
    mad,mad,mad,mad world

    One of the few reprieves from the human condition is laughter. In 1963, Stanley Kramer’s comedic cinematic debut, It’s a Mad, Mad, Mad, Mad World, made waves as one of the first ensemble films of its magnitude. As experimental as it was epic, the film was one of the…

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    Essays Featured

    The Original Ghostbusters Is the Quintessential Blockbuster

    May 16, 2018
    Ghostbusters

    The term “blockbuster” is a bit of a dirty word among cinema purists. It’s hard to argue that films of this genre (and yes, blockbuster is now definitely a genre all its own) are nothing more than cash-rakers, shaped by studio executives, marketed and merchandised to ridiculous nadirs,…

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