Michael Haffner

COLD IN JULY – The Review

“Returning violence for violence multiplies violence, adding deeper darkness to a night already devoid of stars.” – Martin Luther King Jr.

They say the stars shine bright during a clear Texas night sky. But aside from the occasional neon glow in Jim Mickle’s new film COLD IN JULY, there’s not much light in this southern-fried revenge-thriller about fathers, sons, and the violence that awaits them in the night.

When a Texas family man (Michael C. Hall) accidentally shoots an intruder breaking into his home one night, a series of sinister events are triggered involving the dead boy’s father (Sam Shepard), a local sheriff (Nick Damici), and a flashy private investigator (Don Johnson). One boy’s death takes everyone on a twisted path of murder, regret, and heartache.

COLD IN JULY, adapted by Jim Mickle and Nick Damici from a novel by Joe R. Lansdale, is one of those classic thrillers that starts in one place and takes viewers on a dark journey you will never see coming. During its 109 minutes rarely does the audience get to catch their breath, yet alone expect what’s lurking around the corner. In this seedy and occasionally sleazy western-noir, Mickle keeps you guessing without ever making the outcomes ever feel cheap or staged.

This is in no small part thanks to an impressive cast who seem to live, breathe, and sweat in this slice of small-town Americana. Michael C. Hall plays the shaken and easily startled “framer” – due to his day job as a picture framer – with a guilt-ridden and somber-eyed expression. You feel in every scene that he wishes he could change what he did in the opening scene just so that he can go back to his normal, square life. He’s a family man and the importance of family and how fathers cope with providing for their loved ones is an important theme that is carried through until the bloody finale. In many ways COLD IN JULY feels like a classic western, complete with a final showdown at the O.K. Corral. But in the hands of this horror-centric director, the film comes across as an extremely dark and forbidding western tale with thriller elements and a 1980s pulse.

Mickle sets the grim proceedings to a synth score that would have John Carpenter nodding in approval. Ambient sounds and low-tonal beats are mixed with crickets chirping and other natural sounds. Of course there’s the obligatory hair-metal track due to the 1989 setting, but the score by Jeff Grace – who has collaborated with Mickle twice before – causes the tension in some scenes to almost completely boil over. Other times Mickle knows when to refrain from over-styling. When we first see Sam Shepard appear on screen, his threatening presence is seen and felt without a menacing music cue. He comes across like Robert Mitchum in NIGHT OF THE HUNTER; an evil spirit that is always lurking even when he’s not on-screen. In just 8 years, Jim Mickle has set himself up to be one of the most talented young directors working in genre films and should definitely be a name that you will want to continue to watch-out for. STAKELAND was an impressive follow-up after his 2006 film MULBERRY ST, and his vastly superior remake of the film WE ARE WHAT WE ARE from last year solidified his name in the horror community. Mickle continues to grow with each genre offering and COLD IN JULY is his most accomplished film yet.

It’s right about when Don Johnson shows up in his cherry red, zebra-lined convertible that the film takes a sharp turn into dark comedy territory (I say this with massive approval). Johnson’s energetic performance and salty tone completely works, making the third act more fun than expected. However, with his inclusion the character and storyline of Nick Damici’s Texas lawman is completely thrown out the window without a hint of clear resolution. His departure isn’t entirely missed but feels a little odd when thinking about the film as a whole.

COLD IN JULY shows that violence is always lurking around the corner. Right from the start of the film, Hall’s character is confronted with violence and wrestles with the consequences of these actions until the bitter end. Violence can certainly change a person. In a tragic twist of fate, it’s the feeling of being complacent with one’s own violent deeds that will haunt the characters and the audience long after the film fires its last round.

4 out of 5

COLD IN JULY is now playing nationwide and exclusively at The Tivoli in St. Louis

PALO ALTO – The Review

It may appear that James Franco is the focus of PALO ALTO as his name leads the cast and he serves as the inspiration for the script, but his presence is barely a footnote in this perceptive study of today’s teenager. Based on Franco’s short story collection entitled PALO ALTO STORIES, the film mainly follows three teenagers – Teddy (Jack Kilmer), Fred (Nat Wolff), and April (Emma Roberts) – as they live their days floating through class and flying even “higher” at night. Drunk driving, smoking weed, and casual sex are daily occurrences as these three high-school students aimlessly drift towards an uncertain future.

Unlike last year’s SPRING BREAKERS which showed the absurdity of this generation’s idea of the American dream through a hyper-fantasy filter, PALO ALTO shows the reality of what these kids actually go through when the music stops and the neon lights start to fade out. Somewhere amid the cloud of smoke and beer cans lies the same teenager looking for an escape from reality. Together, the two films act as two sides of the same coin; where happiness for these young, lost souls is always within reach but never attained. Conversations of royal kings and death may seem like passing off-the-cuff musings when in reality they add layers to these characters who would otherwise just exist as American Apparel models put on screen. “She wasn’t really a friend. She was just a girl.” Lines such as this might seem suited for a comedy poking fun at the drama-fueled lives of high-schoolers, but in the hands of director Gia Coppola this confession is given weight and reveals a vulnerability about the character. Seldom do you witness such a raw and emotional view of high-school life.

A conversation between the soccer coach played by Franco and one of his players played by Roberts about the non-reasoning behind events throughout history seems reflective of how PALO ALTO unfolds. We aren’t given specific motivations behind character’s actions as we simply see them experiencing life. Often throughout the film I was reminded of the still photography of Ryan McGinley and how his images capture more of a feeling than an idea. Though one could write an essay about his influence on Instagram and the look of “indie” culture, it is his focus on flawed youths – or as I like to refer to them as “lovable losers” – that seems the biggest influence on the characters found in the film. Gia Coppola wears her influences clearly on her cinematic sleeve. Emma Roberts’ character has a poster of Kirsten Dunst from THE VIRGIN SUICIDES hanging on her wall that is very noticeable in a few scenes. 1970s nostalgia may have been traded in for indie counter-culture but the visual and music cues are unmistakably similar between the two Coppolas. I guess the family tree Gia stems from is still fruitful.

Older moviegoers who are uninterested in apathetic and mopey teens may not want to register for this class. And yet, much like the reaction to last year’s SPRING BREAKERS, younger audiences also may not enjoy having the harsh light spotlighting their hidden reality. PALO ALTO may not hold the answer for their high school woes, but it methodically paints a portrait of a generation that’s simultaneously looking for the truth and yet trying to drink enough to forget it.

4 out of 5

GODZILLA – The Review

Writer’s note – I specifically chose not to give a formal synopsis of the plot as I do with most reviews since much of the film’s story hasn’t been discussed in the film’s previously released commercials and trailers.

When Gareth Edwards first decided to venture out into the land of giant monsters with his 2010 film MONSTERS, it wasn’t so much a kid’s game with plastic toys in a sandbox (see last year’s PACIFIC RIM for that) but more of a metaphorical journey of strangers connecting with one another amidst unforeseen circumstances (aka – a few giant squid-like monsters). A few years later and with $160 million more than what his previous budget allowed, Edwards is still intrigued by the idea of the journey even if his target audience isn’t the arthouse crowd anymore. That being said, he clearly has a firm grasp on what his audience wants… and eventually he gives in to the pressure. Yes, given the May release date and the marketing budget the size of… well, you get the idea… GODZILLA seems to be aimed at the summer-movie going audience. And even though the main character played by Aaron Taylor-Johnson is literally on a journey trekking across continents, the journey is aimed specifically for fans of the title character. GODZILLA fans will enjoy the journey – for the most part – but unlike MONSTERS that came before it, it’s not necessarily a journey for a journey’s sake, but more of a journey to get to the destination. As in the case with GODZILLA, what an entertaining and applause-worthy destination it is.

Right from the opening credits, the film’s score kicks into high-gear as old government papers and black and white undercover photos are quickly revealed giving the audience their first clue that this may be more of a sequel than a reboot. The spectacular score that perfectly blends a “classic” sound with modern flourishes is just one clear example of how much of a departure this film is to the 1998 film atrocity that last featured the king of the monsters on the big-screen. For better and for worse, Edwards’ approach to the film leans heavily towards the original Toho Company films. Gone is any form of campiness to the point that the film feels a little too serious. A small injection of comedy or lighter moments would have gone a long way to soften the dryness. That’s not to say that the drama doesn’t work. In fact, Bryan Cranston – no surprise of course to fans of BREAKING BAD – is exceptional in the emotional story arc he’s given. The same can’t be said for Aaron Taylor-Johnson. His failed attempt at developing a character the audience can connect with seems inferior to even the big, scaly CGI character. This wouldn’t have been as much of an issue if he weren’t the main character for 2/3 of the film. Sequence after sequence of Johnson coincidentally stuck in peril is used to try to mask Johnson’s cold and detached character. These set-pieces also serve to coyly reveal glimpses of the creature(s), and occasionally they standout as inventive scenes that help ratchet the tension as we wait for the big showdown. An army mission on a train bridge is especially nerve-wracking, and the extended sequence frequently seen in the trailers of the skydivers leaping into action is atmospheric and even a little surreal. It is moments like these that make the film more than just a long wait to get to the big finale. But let’s be honest . . . the showdown is incredible and indeed worth the wait. Unlike last year’s PACIFIC RIM, the action can be easily comprehended and not a mess of flailing limbs and flashes of color in the dark; even if the finale also takes place at night. Don’t be surprised if fans of the title character applaud at several moments as they did in the screening I attended.

At the risk of repeating myself, those unfamiliar with Edwards’ previous venture MONSTERS might be doing themselves a disservice. Much like his previous creature feature, a slow unveiling of the creature(s) takes place to the point that some audiences might wonder when the main character is going to stomp onto the screen. Still, his presence is always felt as he is constantly the subject of discussions and pointed to on tracking monitors thanks to Ken Watanabe and other absent-minded scientists. Like a master poker player, a deliberate approach is in place by the director to wait to reveal his whole hand until the end. For the final thirty minutes, pedestrians run and scream, buildings crumble, missiles are launched, giant tails whip around, and beasts roar (lots of loud roaring in fact). The finale ignites the screen in a mega battle that can barely be contained on the screen. It only seems appropriate to see this on the biggest screen you can find.

Given the size of the creature itself, you would expect a mega-sized blockbuster filled from beginning to end with Michael Bay-esque explosions, carnage, and monster mayhem. For me, it’s a relief to see someone approach the summer blockbuster film in a “less is more” way. Much of the action early on is left for the audience to imagine. We are frequently shown only the aftermath; which in and of itself is often a sight to behold thanks to some spectacular aerial shots. Some of the post-WWII themes that were explored in the 1954 sci-fi classic are touched upon here without feeling cheap or forced. Subtext though doesn’t play as big of a part as does a desire to bring GODZILLA back in a faithful and entertaining way. However, for those looking for more than just thrills, the film may spark a conversation or two about if we ever truly know or understand what we think is our “enemy.” Most importantly though, fans can rejoice – GODZILLA feels like an atomic breath of fresh air that is stomping towards a bright future without completely leaving the Toho building blocks behind in the rubble.

4 out of 5

NEIGHBORS – The Review

It won’t take much to tell if NEIGHBORS is the film for you. If you couldn’t tell from the trailers or simply the inclusion of Seth Rogen, you’re in store for a raunchy comedy that’s ready to party. It’s certainly not going to win over anyone who’s going to be kicking and screaming the entire way there, but it also doesn’t really try to either. Which isn’t necessarily a bad thing. NEIGHBORS is a no-holds-barred comedy that aims for the college crowd and delivers on its goal. So if you’re in the mood, dust off those bongs, limber up for a keg-stand, and be ready to party hard until the sun comes-up. Noise complaints aren’t allowed.

Seth Rogen and Rose Byrne are first-time parents who are coping with their newly changed lives while still maintaining some inkling of their former selves. Rogen still gets high with his buddy at work while Byrne has to fight the urge to go out to the club at night with her recently divorced friend. Their world takes yet another turn when a fraternity moves into the house next door to them. After a night of partying with the group – led by Zac Efron and sidekick Dave Franco – the two houses form a truce to keep the noise down and to NEVER call the cops. This truce is broken when Rogen’s failed attempts at contacting Efron one night leads him to call the cops and report a noise complaint. Now all the rules are off and all hell is let loose.

NEIGHBORS is basically one long demented game of chess fueled by sex, drugs, and rock-n-roll. You have two sides in a cutthroat death match to break the rival opponent. Rogen and Byrne are struggling to defend their turf while the rowdy boys are attempting to throw a legendary party so that they can attain a spot on the coveted “history” wall of the fraternity – a sequence that showcases these hilarious events through history is one of the most memorable scenes I’ve seen on film this year. The back and forth antics between the two households does begin to feel a little repetitive after awhile. I understand that this is the point of course, but looking back at the film it does feel like one elongated skit. That being said, director Nicholas Stoller never makes the film feel boring as you witness the absurdity of the rivalry finally build to one giant blow-out; though smoke-out might be a more apt phrase.

The highlight of the film is Rose Byrne. She’s a delight on screen and her charming accent and subtle mannerisms go a long way. This is obviously familiar territory for Seth Rogen. At this point in is career he can do films like this in his sleep. His comedic timing is always on point even if the audience can predict his reactions and jokes before he even delivers them. What you might not expect though is the chemistry between the two leads. Genuineness is expressed in the scenes between the married couple, and it also doesn’t hurt that they have a cute kid that is frequently employed for the audience to goo-goo and smile at.

Unlike some modern comedies like last year’s over-praised THE HEAT, the humor on-display here relies more on sight gags and less on colorful foul language. You don’t hear “boner” jokes as much as you literally see “boner” jokes. Actually . . . you see several boner jokes, just to warn you. The writers are aware that clever name-calling and saying the word “fuck” isn’t going to elicit much of a reaction anymore from modern audiences. We’ve been there, heard that. At the same time, the gags can’t be too outrageous that it takes the audience completely out of the struggle between these real people. So there’s a fine line between giving audiences something new while still having it fit within the confines of the story. NEIGHBORS delivers in such a way that you’re laughing at the characters while simultaneously caring about the reality these characters are living in. It’s fun, raunchy, and incorporates just enough of a message that it could be seen as a companion piece to Adam McKay’s STEP BROTHERS. Both films explore the difficulties of getting older in a world that frequently asks us to abandon our childish ways. Except with NEIGHBORS, we see how an adult can function as a parent without completely missing the party.

3.5 out of 5

TRANSCENDENCE – The Review

A couple of good ideas can go a long way. Other times they could be just that – ideas without a proper framework to support them. Wally Pfister’s directorial debut TRANSCENDENCE seems to struggle to find a purpose for the “high-concept” thoughts that seem to expand its own head rather than the audiences. In fact, some audiences might struggle to stay awake during this uncompelling and preachy bore.

After a minor flash-forward that unceremoniously lets you know what will eventually happen, the film opens with Dr. Will Caster (Johnny Depp) as he’s about to give a speech at a science conference. At his side is his loyal wife Evelyn played with heart and emotion by Rebecca Hall. Upon leaving the hall Will is confronted with a shooter who attempts to kill the scientist. This is only one action in what is soon revealed as a series of acts of violence committed by an anti-tech terrorist group; I thought for a second about how they might get in touch with new recruits and communicate with one another but quickly dismissed this logical thought. Even though Will survives the bullet, he cannot stop the poison that the bullet that hit him is laced with. A last ditch effort to save his mind is performed by Evelyn and fellow scientist Max (Paul Bettany) by placing all of Will’s thoughts and memories on several hardrives. This action allows Will and Evelyn to continue their research and to make technological leaps including building a huge underground laboratory where the duo begins to play God by combining the DNA of humans with Will’s computer code. As you can expect, negative repercussions ensue.

Like so many films that came before it, TRANSCENDENCE explores the idea of man’s connection with technology and his abuse of to science in order to play God. At times I began to feel that the film would fit nicely into the filmography of David Cronenberg. In the 80’s and into the 90’s the iconic director bridged the gap between the arthouse and the slaughterhouse with his bloody “body horror” explorations that also tapped into philosophical discussions about the relation between man and machine. He most famously did this in THE FLY and VIDEODROME and then a little bit later with the often overlooked gem EXISTENZ. All three films follow a protagonist who feels empowered by a new leap in technological advancement. TRANSCENDENCE continues this theme nicely, even though I’d argue it might be about ten years too late to the conversation. There’s not any new parts in this machine which makes all the gear spinning all the more tedious when there’s not more energy pushing them. Pfister obviously knows how to present a striking image – which he frequently does here as he previously did working with Christopher Nolan – but his images alone can’t elevate this vacant film. If only Cronenberg guided the film with his twisted mind than it might have had some more life to it.

There are moments where I could see what Jack Paglen was attempting to do with this limp story. What makes us human and whether or not the new “computer Will” really, truly is the human Will are questions that triggered enough of a curiosity in me that I didn’t fall asleep during the film. But I must admit that I was looking at my watch quite a few times. I never felt like I watching a character driven techno-thriller nor did I feel I was being forced to sit through a long-winded science lecture.

TRANSCENDENCE just feels stagnant. It exists and that’s barely an appropriate description of it. Even the actors on-screen acted as if they are there to just collect a paycheck. My iPhone’s Siri shows me more of a range of emotion than Johnny Depp. Morgan Freeman fills space in the handful of scenes he’s in occasionally mumbling some useless non-sense. The only actor that seems to care is Rebecca Hall, and in contrast with everyone else she seems like she’s auditioning for a Spanish soap-opera.

TRANSCENDENCE sets up a basic premise and doesn’t go anywhere with it; unless you count some lackluster CGI sequences that show what I can assume is computer code floating up into our atmosphere. At this point I didn’t even care enough to analyze the science behind it all, not because I’m particularly gifted in the subject (which I’m not), but because the film didn’t give me anything to care about. I felt nothing, and I don’t think “computerized Will” needs to do a full body scan to figure out how I feel about this one.

1.5 out of 5

DRAFT DAY – The Review

A sign of a good sports film is if the audience enthusiastically cheers during a film like a crowd at a live sporting event. That’s exactly what happened when I went to see Ivan Reitman’s DRAFT DAY. The theater was into every second as the film counted down the minutes to the big event. For football fans, the NFL draft signals the start of the new season as predictions and expectations are quickly assigned to each team after the new recruits are signed on. Depending on your love of the game, you may be able to look past some of the more predictable elements of the script and view DRAFT DAY as an acceptable entry into the sports film genre.

Sonny Weaver Jr. (Kevin Costner) is on a mission to get the best pick for his club the Cleveland Browns. If only it was so simple. In the hours leading up to the big night he has his boss and team owner (Frank Langella), the head coach (Denis Leary), and his co-worker and secret lover (Jennifer Garner) all telling him what to do. Does he go with the much-hyped college quarterback that is expected to be the #1 draft pick? Does he go with a passionate defenseman who is hoping to financially support his young boy? Or what about the player who is trying to make his proud father happy by also playing for the Browns? This is only the beginning of Sonny’s day as new problems and issues continue to mount as the deadline for the NFL draft inches closer.

It doesn’t take long for the film to remind you of the 2011 film MONEYBALL. That film was elevated to more than just another sports film due to Steve Zaillian and Aaron Sorkin’s nuanced script. Baseball almost takes a backseat to a world that is more akin to that of a political arena. On the surface, DRAFT DAY could be described as the football version of the same scenario as Kevin Costner sits in as the Brad Pitt character. But DRAFT DAY is much more interested in aiming for the heart than the head. Metaphors and symbolism are traded in for humor and relationship drama. The film as a whole feels light and easygoing, almost to the point of hindering everything that is at stake by the end of the film. Fans of the sport will no doubt love watching the off-the-field interactions and seeing there favorite teams mentioned in jokes – especially since the NFL are quite strict with approving the use of their name and teams. Even if you’re not a die-hard football junkie, DRAFT DAY still serves as a nice film that is able to breeze by and hold your interest.

Ivan Reitman (GHOSTBUSTERS, STRIPES) utilizes his own play clock counting down from 12 hours to the draft ceremony. This visual cue is a great way to keep the audience along for the ride with Costner. However, the same cannot be said for Reitman’s constant use of split screens and other visual tricks like having actors cross in front of the split screen. It gives the film a television series feel right from the onset. At first it just feels contrived, but after watching it another half a dozen times you begin to feel this is a crutch to make the film feel more exciting.

Kevin Costner seems made to play this role. I often forget about him as an actor due to his lack of recent work but his presence adds some much needed weight to the film. He guides the film along in such a natural way that you even look past some of the story elements that don’t work as well. His love story with Garner feels half-baked and his mother’s mournful rage for a loved one is tacked on towards the end and never gels with the rest of the plot. That being said, DRAFT DAY still serves as a carefree way to get through a Sunday afternoon until the 2014 football season kicks off. A few late in the game twists will make audiences cheer and seeing Costner act as a capable leader for the whole team makes DRAFT DAY an easy win for football fans.

3 out of 5 stars

The 2014 Wizard World Convention Brought Out the Kid in All of Us

The car featured in TRANSFORMERS: REVENGE OF THE FALLEN.

Navigating the rows of rare back-issues, original artwork, and collectible merchandise can be pretty tough when you’re competing with tens of thousands of people. Except when you’re at Wizard World and are among such like-minded enthusiasts of comics and pop-culture, than you feel more like a wide-eyed 10 yr. old and don’t necessarily mind running into a random Princess Leia or a Joker from THE DARK KNIGHT. Wizard World added St. Louis to its multi-city roster last year and fans swarmed the America’s Center Convention Hall. This year was no different. Well . . . I should clarify there was one big difference. But I don’t think fans complained about the event increasing in size to fill the entire Edward Jones Dome! Where else but at Wizard World can you say that former Batman Adam West, Nathan Fillion, and Eliza Dushku all played on the same field as the St. Louis Rams?

A couple dressed as Princess Leia and Han Solo in carbonite.

Artist Mike Mahle displays his femme fatale themed artwork.

The Dome was filled with people of all shapes and colors this year for the return of the St. Louis Comic-Con. Harry Potter wizards wore their house robes. Jedi knights wielded their lightsabers. But who seemed to reign supreme was the Whovians. DOCTOR WHO was the talk of the show for the past three days. Rightfully so given that two of the British show’s main stars were on hand to meet with their rabid fans. A line that wrapped down the convention hallways began forming hours before a Q&A panel with former “Doctor” Matt Smith. Who brought in as many cheers and fans was Smith’s co-star on the show Karen Gillan. Though much of her panel focused on DOCTOR WHO – Gillan even gave into a young fan’s request to say ‘Oi!’ like her character does in the episode “The Eleventh Hour” – she also briefly discussed her upcoming roles in Marvel’s GUARDIANS OF THE GALAXY and in the horror film OCCULUS. Just so you know, she was pretty terrified of the unknown and supernatural horrors when she was younger and might be a little bit now as well.

Karen Gillan recounts stories from the set of DOCTOR WHO.

Yours truly was the most excited to meet actor Bruce Campbell but that’s because I’m more of a horror fan at heart. I’ve gone to a number of conventions over the years and have always wanted to meet the star of the Evil Dead Trilogy. Now I can finally say I have. With an easy smile and a firm handshake, Campbell was happy to sign my poster for the original 1981 horror classic. I proceeded to ask him about the progress of the long-rumored sequel to BUBBA HO-TEP. “It’s currently being re-written by the original film’s writer. I’m happy that it (BUBBA NOSFERATU) is coming along.” Meeting him and shaking his hand would have been enough just by itself, but hearing that the sequel to one of the best horror-comedies of the best 20 years is moving forward was the blood-red icing on this horror kid’s cake.

Ted Raimi and Bruce Campbell take the stage.

Late Saturday afternoon gave way to the most hilarious panel of the weekend. Ted Raimi and Bruce Campbell played talk-show hosts in a non-traditional panel format that incorporated fans from the audience. Campbell’s charming curmudgeon act was frequently entertaining even if he led some conversations into lewd territory at times. Thankfully all of the guests that were invited on stage as well as the audience didn’t mind the sexual innuendo at play. Once again, this panel was easily the most memorable looking back at the weekend.

An attendee dressed as a ‘Female Loki.’

To cap off the evening Saturday night, costumed attendees were invited to take part in a costume contest. Several categories were voted on including “Best Female Villain” and “Best Team or Duo.” One of my favorite cosplayers of the entire con was a woman dressed as a ‘Female Loki.’ Clearly I wasn’t the only one who thought so as she was awarded “Best Female Villain.” After the big show Saturday night an even bigger show was just beginning. Wizard World held an after-party overlooking the convention floor that everyone seemed to enjoy. This wasn’t some middle-school dance either where the boys sat on one side and the girls on the other. Clearly, some of these costumed freaks were ready to mingle and they did so on the dance floor. Beats were bumping late into the night courtesy of a few DJs and rapper Tech N9ne. I might have been more surprised than anyone that this party would be as fun as it was; all while being free for convention attendees!

Tech N9ne and artist Rob Prior getting the crowd rowdy at the after-party.

Most of the stars from tv and film charged top dollar for either a photo-op or a signature print. Yet, if you are a fan of comic-books, a living legend in the industry was available on Saturday and a little bit on Sunday and wasn’t charging a dime to sign your coveted issues. Greg Capullo made a name for himself in the early 90’s for working with Todd McFarlane on the Image series Spawn. He has since gone on to work for several companies, drawing for them a multitude of characters, but has recently become known for his work on Batman. “Death of the Family” was the most recent story that Capullo did for DC that found the Caped Crusader battling a hideously deformed and even more crazed version of The Joker. I was lucky enough to meet Capullo who seemed genuinely gracious to meet so many fans of his art. He obviously returned the favor by offering free signatures of his books.

Greg Capullo signing a Batman print

Aside from all of the love for DR. WHO, the second largest fandom came from the Browncoats. Although the show was cancelled back in 2002, FIREFLY fans came out in full support over the weekend to embrace the show’s stars Adam Baldwin, Alan Tudyk, Summer Glau, and Nathan Fillion. All four of them had steady lines over the weekend to meet with fans and to discuss the short-lived series and subsequent film SERENITY. On Sunday afternoon, just as the convention started to die down, the trio of male stars – Summer Glau had to “catch an early flight” for some reason even though she obviously knew the whole weekend when her panel was (deep sigh) – took to the stage like a bunch of guys at a high-school reunion. They cracked jokes and recounted working together on-set with Joss Whedon. Fillion joked about cursing in Chinese on the show and “offending an entire country” and Tudyk joked about getting yelled at recently for revealing too early that a sequel to the movie TUCKER & DALE VS. EVIL is in the works (even though he then proceeded to tell us that he “already saw the outline to the sequel”). Overall, the panel felt more like catching-up than eye-opening for FIREFLY fans. Having said that, the wait for the panel might have been worth it just to hear Fillion sing a few lines from DR. HORRIBLE’S SING-ALONG BLOG.

FIREFLY Panel (Adam Baldwin, Nathan Fillion, and Alan Tudyk)

The name Wizard World kind of says it all. It truly is a magical and foreign place where you can see a “Steampunk Darth Vadar” walk beside a Ninja Turtle while admiring some custom James Bond artwork by Mike Mahle. It’s not uncommon to see grown men and women jump up and down and recount when they first discovered their favorite William Shatner STAR TREK episode. This child-like glee on people’s faces was seen on almost every single attendee I encountered over the three day celebration. I use the word celebration because it truly feels like that when you are among so many who have all happily driven miles (some even who have crossed state lines) for a weekend to connect with fellow geeks, dorks, nerds, fangirls, cosplayers, gamers, and fanboys. We may all like different things but we all share the same energized passion and that’s the main thing that brings us altogether at Wizard World.

The Rocketeer lands at Wizard World St. Louis.

Mark your calendars now. Wizard World has already announced that they will be returning to St. Louis May 15-17, 2015!

The Stars Come Out For THE WINTER SOLDIER Red Carpet Event At MX Movies

Thunderstorms and tornado warnings were no match for the heroes and their rabid fans who came out to the MX Movie Theater Thursday night. To kick off this weekend’s Wizard World convention held at America’s Center in downtown St. Louis, a red-carpet event was held for Marvel’s next superhero blockbuster – CAPTAIN AMERICA: THE WINTER SOLDIER. And it wouldn’t be a red carpet without a big star.

Fans lined-up to take photos of former Hulk actor Lou Ferrigno. For five seasons, Ferrigno was mean and green as the title character in THE INCREDIBLE HULK. Even though the show aired from 1978 -1982 on CBS, the show and its star continue to garner new fans both young and old year after year as the popularity of comic-books exponentially soar. Ferrigno posed for photos and even struck a menacing iconic pose or two. To show that he wasn’t just a muscular brute, he signed and posed with a t-shirt for a local charity as well.

What has helped many fans (including myself) become the comic geeks we are today is Wizard Magazine. In the early 90’s, comics saw a resurgence and new comic and “fantasy” stores appeared around St. Louis at a rapid rate. Before the internet took over as our main news source for comic news you could always count on Wizard Magazine for reviews, news, and interviews with the artists and writers working in the industry. Wizard World continues this tradition by bringing the famous names involved in pop culture directly to the fans each year. This is the second year the convention has invaded downtown St. Louis and the lineup and events scheduled for this weekend seem to indicate that it will be even bigger and better than last year’s. Judging by their Hulk-sized red carpet event Thursday night, comic geeks, fanboys and fangirls, cosplayers, and gamers should all be in for a fantastic weekend.

For all the info regarding what’s going on this weekend and who will be there, click HERE.

THE FACE OF LOVE – The Review

In recent years we have seen a number of films that are clearly inspired by the works of the legendary director Alfred Hitchcock. Just last year, not one but two films were released that carried visual and narrative traits that were all too common in the work of the master of suspense. Both SIDE EFFECTS and STOKER transformed the idea of a Hitchcock thriller for modern audiences while still clearly letting their respected director’s voices be heard.

This certainly isn’t the case with Matthew McDuffie and Arie Posin’s story of a mournful widow. As the film opens, we see Nikki (Annette Bening) coping with the death of her husband Garrett (Ed Harris). Flashbacks to happier times still haunt her as she attempts to move on five years after his death. When visiting an art museum one afternoon she sees what appears to be her husband sitting in front of her. She at first is afraid but proceeds to find out more about this strange man who looks identical to Garrett. Her detective skills lead her to find out he’s an art instructor at a nearby college named Tom (also played by Ed Harris). A simple friendship soon blossoms into a budding romance as Nikki becomes infatuated with the idea of being reunited with her late husband.

How are you supposed to enjoy a film that has no meaning? THE FACE OF LOVE seems to exist without a purpose. The film obviously knows that it’s one long homage to Hitchcock’s classic movie VERTIGO, but it never proves to be anything more than that. There’s no point to blatantly repeat the same idea and even scenes from a well-known work if for no other reason than just that. At least when Gus Van Zant remade PSYCHO in 1998 there was a reason behind it all since he was challenging himself to replicate it shot for shot. His approach seems to raise the question as to why someone would even attempt to remake an existing film in the first place if not then to make a carbon copy of the original. I would dare say it’s a clever experiment if it weren’t for an already much discussed shot that Van Sant unnecessarily inserts in the middle of the film; of course that’s a discussion though for another day. That being said, director Arie Posin also chooses to replicate almost exactly the same scenes from VERTIGO. Annette Bening makes the “Tom” Ed Harris try on the same clothes as her deceased husband, just like Jimmy Stewart did with Kim Novak. Earlier we even see her run past cream-colored pillars similar to the Spanish Cathedral architecture that was seen in VERTIGO. It’s clear Posin knows what he’s doing if only for the obvious visual of the poster for the 1958 film hanging on a wall in one quick scene. All of these nods don’t come across as funny or clever or … really much of anything. And that’s the main issue with the film – when you strip away all these nods to that other famous film, there isn’t a whole lot of redeeming qualities to make the film notable. We’re given a basic story of two middle-aged singles falling in love, and the performances alone can only do so much for the familiar story. Bening and Harris attempt to ignite some sparks on the screen for a good chunk of the film as they try to connect with one another through art (cue eye roll). An opportunity is there for Robin Williams to develop into a potentially interesting character if the script didn’t treat him like one of Harris’ static paintings. His role in the film is so meaningless that he disappears almost altogether in the last third of the film.

For the first fifteen minutes I actually enjoyed the visual push and pull Posin does with his direction to confuse the viewer as to whether we are seeing the character of Nikki in the present day or in a flashback. The effect creates an eerie, dream-like state that sadly isn’t maintained after the first act. Why this ambiguity in the narrative isn’t carried into the scenes once Tom comes into play makes no sense. Having the audience attempt to decipher if we are watching Nikki with the late Garret or currently with Tom could have made for a much more dynamic aspect to an otherwise straightforward tale of obsession. Actually . . . the word obsession might be too intense of a word since THE FACE OF LOVE is neither powerful nor passionate. Like Jimmy Stewart’s fear in the already mentioned classic, it seems like we have a case of a film afraid to reach great heights.

2 out of 5

DIVERGENT – The Review

It’s no wonder a studio like Summit Entertainment would be interested in bringing Veronica Roth’s book series to the big-screen. Between the theme of government control set amid a sci-fi setting and the focus being on a young woman discovering who she really is amidst a growing rebellion, it’s not a stretch to see that DIVERGENT might be the next THE HUNGER GAMES. To put it simply, GAMES doesn’t have to worry about any sort of competition from this new young adult rival, but those interested in that world shouldn’t completely dismiss this entertaining coming of age story either.

Where THE HUNGER GAMES has somehow been able to appeal to readers and film fans of both young and old, this new young adult series may not be as lucky. This is mostly in part to the focus on romance rather than substance. When so much attention is paid to whether the two good-looking leads will kiss or not, you begin to see what really is most important in this series. Thankfully this budding romance isn’t nearly as agonizing as say the TWILIGHT films, but make no mistake, this is clearly a young adult series. And with that warning, be prepared to witness precocious teens try to catch cutesy glances at one another. So much so that you almost forgot that you are supposedly watching a science fiction film interested in bigger ideas.

In DIVERGENT, the Chicago of the distant future is separated into different factions. Each faction – don’t you dare try to make me recount all their names and what they stand for – is comprised of individuals who share specific personality traits that are unique to that faction. When you get to a certain age, a mental test is conducted that probes the mind to find out who you should belong to. Of course, the choice is always up to the individual, but no person should have all of the traits that make up the five factions. Only in very rare instances does this happen. Those individuals whose tests come back “inconclusive” are called Divergents.

Tris, played with all heart and gusto by Shailene Woodley, happens to be one of these individuals. When she is told to hide her test results, she is forced to decide what faction she wants to belong to. She ends up choosing “Dauntless” even though it goes against her family tradition. The Dauntless are known for their heroics and athletic ability. Through her training she meets a ragtag group of teens who are all striving to be officially accepted into the group. Only if you pass all of the tests and are in the upper percentage of the new recruits will you get accepted. One of her mentors, mysteriously named Four (the smoldering Theo James), seems to take a liking to Tris but also sees her as a potential problem due to some of the other traits she exhibits that other Dauntless members don’t possess. Four and Tris soon discover that they share more than just an emotional connection and that there lives may be at risk due to mounting pressure between the factions.

The film seems to suffer from being a slave to the source material. Even if you look past the bloated running time, so much effort is put into the training sequences and Tris “finding herself” amid the diverse group that you spend the majority of the film waiting for the plot to kick into gear. I will say that these coming of age scenes have a breezy easiness to the way they are laid out even if they become repetitious after awhile. The trials and obstacles she must face even seem to carry some minor symbolism as they act almost as stepping-stones showing a naïve girl transforming into a strong woman. It’s only when the film finally decides to deal with the larger issue of the story that everything suddenly feels rushed. Everything in the final 20 minutes feels like narrative overload, abruptly tacked on to make way for the subsequent films in the book series. By the end of the chaotic finale, you may find yourself looking back and appreciating some of the quieter moments from earlier in the film – especially a soaring scene where we see Tris literally soaring above the city set to a song by the band M83.

Director Neil Burger (LIMITLESS, THE ILLUSIONIST) takes such great care setting up these characters but wastes his calculated handling of the story in its finale. One could argue that the story could function much better as a TV series. Even though a similar book series has been adapted and made quite a splash at the box-office recently, I feel the deliberate pace that is spent to get to know each of these characters – which I can only assume is also present in the books – could translate to the small screen more efficiently. The entire ensemble seems appropriately cast and all are captivating on screen thanks to some impressive cinematography (Alwin H. Küchler). Burger’s direction mostly elevates the teen love affair into something slightly more just through his approach to this story. However, I would be remiss not to warn those unfamiliar with the books that this truly is an adaptation of a young adult novel. That being said, don’t be surprised if the film inspires even more young people to join the DIVERGENT fan faction.

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3 out of 5 stars

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