Joe's all-time favorite movie, F.W. Murnau's 1922 silent horror masterpiece NOSFERATU, is getting the 3D treatment in a new remake/reimagining/re-editing/modernization called ORLOCK THE VAMPIRE IN 3D. Special guest Keith Carter, the animator/director behind ORLOCK, joins Joe for an in-depth discussion on this new project, the lure of 3D technology, the appropriateness of tinkering with classic films, the world's greatest video stores, and other Cinemaslave-flavored topics. The Val Lewton marathon continues next episode with THE LEOPARD MAN and GHOST SHIP. Happy Halloween!

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A sad time in Cinemaslave-land as we mourn the man who arguably invented movie fandom. (No, dummy, not Michael Jackson.) Joe also opens up the rather dusty listener feedback archives before fawning all over Disc 2 of the Val Lewton box set, which contains the films I WALKED WITH A ZOMBIE and THE BODY SNATCHER. Oh, what a time.

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Joe's unexpected four-month hiatus from the show is revealed to be nothing more than a dream -- it turns out he had the power to return to the podcast all along simply by clicking his heels together three times. There's ramblings aplenty here, as Joe explains where he's been, why it sucks a little less to watch movies in Scranton these days, and ushers in the first installment of our brand new Val Lewton marathon with a look at 1942's Cat People and its amazing sequel, 1944's Curse of the Cat People.

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Joe's been spending a lot of quality time recently with Kino's massive five-disc "American Silent Horror" collection, and your intrepid host offers you a guided tour through the good, the bad, and the perplexing films which comprise this slice of film history.

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The release of a (sensational) new Batman film, coupled with the recent rediscovery of Fritz Lang's long-lost director's cut of Metropolis, means that Joe is living in a German Expressionism dreamland this week. As such, your intrepid host decides to evaluate the legacy of the most famous "lost" silent film in history, Tod Browning's London After Midnight, starring Lon Chaney. We also look (metaphorically) at some of cinema's other lost classics and ruminate on the odds of their eventual rediscovery.

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Harsh language and politically charged commentary you can believe in.

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Joe throws another of his favorite childhood movies under the bus this week by revisiting "Iron Eagle", and is saddened to learn that the film is nothing more than an unabashed ode to the Reagan era. We also revisit the "gore vs. suspense" debate, ponder the proper uses of CGI in modern cinema, and discuss several irrational movie fears. We also attempt to settle once and for all whether "Juno" is actually a treasured cinematic gem or an overrated faux-chic flick. But eventually Cherilyn from Canada saves us all with a guest review of "Run Fatboy Run".

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Joe examines the "Suspense vs. Gore" debate currently raging among modern horror fans, and realizes he'd rather watch "Friday the 13th Part II" than anything Eli Roth will ever make. Your intrepid host also finds time to wrap himself in bandages, make some tana-leaf potion, and have a look at all five of Universal's classic "Mummy" flicks before Cherilyn in Ontario restores some integrity to the proceedings with a rational look at the Canadian TV premiere of "Grindhouse". JOIN JOE AT SLAPSTICON IN ALEXANDRIA, VIRGINIA THIS JULY! www.slapsticon.org

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A very grateful Joe is trying to claw his way out of the avalanche of listener feedback inspired by the last episode. Spike Lee once again comes under our cinematic microscope as we take a look at his astonishing four-hour New Orleans documentary "When the Levees Broke", and we rehash the age-old debate of whether a writer or director is more integral to a movie's success. Joe also spends a bit of time pondering why a 16mm film print of his favorite flick seems to be forever beyond his grasp, and evaluates possible medical treatments for a Cinemaslave listener who didn't like "Once".

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If this is your first time listening to Cinemaslave, you might want to try a different episode. Joe's got his panties in a bunch after a screening of Mel Brooks' horrendous "Silent Movie", and is now (indirectly) considering a massive overhaul of the show's format as a result. (Regular listeners, please weigh in with your thoughts.) Your intrepid host also takes a few minutes to say farewell to his late friend, indie filmmaker John Polonia. Quite possibly the strangest episode ever.

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