And the Comic-Con news just keeps on coming!
Vampires, werewolves, geeks, serial killers, secret agents and more are set to dazzle fans at the 2013 Comic-Con in San Diego. Warner Bros. has just unveiled their lineup, and it's looking like 17 of their fan-favorite series will be in attendance. Take a look at the full lineup below to find out when stars from The Vampire Diaries, Arrow, The Big Bang Theory, and more will be taking the stage.
Wendesday, July 17:– Pilot screenings of Almost Human, The Tomorrow People, and The 100, as well as a special presentation of The Originals featuring never-before-seen footage.
Thursday, July 18:- MAD: Producers Kevin Shinick and Mark Marek.
Friday, July 19:- Almost Human: Stars Karl Urban, Michael Ealy, and executive producer J.H. Wyman. - The Big Bang Theory: Executive producers Steven Molaro and Bill Prady and the writers- Childrens Hospital: Creator/star Rob Corddry and executive producers David Wain and Jonathan Stern join cast members Lake Bell, Erinn Hayes, Ken Marino and Rob Huebel. - The Following: Kevin Bacon, Shawn Ashmore, and Valorie Curry join executive producers Kevin Williamson and Marcos Siega. - Nikita: Maggie Q, Shane West, Lyndsy Fonseca, Aaron Stanford, Melinda Clarke, Devon Sawa, and Noah Bean join executive producer Craig Silverstein. - The 100: Series stars Eliza Taylor, Thomas McDonell, Marie Avgeropoulos, and Henry Ian Cusick join executive producers Matthew Miller and Jason Rothenberg. - The Paranormal and Extraterrestrial Squad: Producers Milo Ventimiglia and Russ Cundiff and creators/stars John Dale and Michael Hobert.
Saturday, July 20:- Arrow: Stephen Amell, Katie Cassidy, David Ramsey, Emily Bett Rickards and Colton Haynes joining executive producers Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg. - The Originals: Joseph Morgan, Claire Holt, Phoebe Tonkin, and Charles Michael Davis join executive producer Julie Plec. - Person of Interest: Executive producers Jonathan Nolan and Greg Plageman join members of the cast for their third visit to Comic-Con. - Revolution: Series stars and creator/executive producer Eric Kripke. - The Tomorrow People: Series stars Robbie Amell, Mark Pellegrino, and Peyton List with executive producers Greg Berlanti, Phil Klemmer and Danny Cannon. - The Vampire Diaries: Nina Dobrev, Paul Wesley, Ian Somerhalder, Kat Graham and Candice Accola join executive producers Julie Plec and Caroline Dries.
Sunday, July 21:- Supernatural: Jared Padalecki, Jensen Ackles, Misha Collins, and Mark A. Sheppard with executive producers Jeremy Carver and Robert Singer. - Beware the Batman: Producers Glen Murakami and Mitch Watson. - Teen Titans Go!: Producer Aaron Horvath joins members of the voice cast, including Greg Cipes and Scott Menville.
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The supernatural thriller The Rite is a different kind of literary adaptation a film not “based on” or even “inspired by” a written work but rather “suggested by” one. The degree to which this fictional film adheres factually to its source material Matt Baglio’s book The Rite: The Making of an American Exorcist is anybody’s guess. Fans of The Exorcist might argue that it’s more strongly “suggested by” William Friedkin’s 1973 horror classic than anything else.
Erstwhile unknown Colin O’Donoghue in his first feature role plays Michael a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn’t even sure he believes in god much less the Catholic doctrine of exorcism Michael is inclined toward the more humanistic view of the “possessed” as simply disturbed or schizophrenic individuals. What they really need he insists is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism Michael’s headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins) a Welsh Jesuit (shorthand for “eccentric”) and practicing exorcist. Having been around the theological block a few times Lucas reacts to Michael’s unbelief with wry nonchalance (a Hopkins specialty and the film’s most appealing trait); he knows that Satan’s arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith first using a pregnant Italian girl as his vessel then incorporating other representatives of the animal kingdom tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father played by Rutger Hauer who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card of course is Hopkins whose character eventually becomes possessed himself thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone with Hafstrom seemingly unable to decide if his film is to be a moody serious-minded psychological thriller or some campy outlandish horror-comedy. By the time Father Lucas becomes possessed and the reenactment of the first great celestial battle begins the film gives itself wholly over to the latter. As channeled by Hopkins the devil comes off as a less eloquent more vulgar version of Hannibal Lecter taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.