You've probably heard about the terrible critical and audience scores for "The Turning" by now. If not, allow me to fill you in. The film is originally based on The Turn of the Screw by Henry James but the allure and mystery of the popular horror story gets lost in translation by way of a mishandled edit and in all likelihood some corporate meddling.

Mackenzie Davis plays Kate Mandell, a woman hired to be a governess for a wealthy family. Originally she takes the job with the expectation that she'll be looking after Flora, the young daughter, but upon arriving at the manor finds that Flora's older brother Miles has returned home from boarding school after being expelled for violently attacking another student.

Over the course of the film Kate begins to encounter the ghosts of Flora's previous governess Miss Jessel, and the former groundskeeper Quint that had been tormenting and eventually killed Jessel. When first watching the film the story seems to play with the idea that the other characters Kate interacts with could also be ghosts, particularly Flora since she is said to never leave the estate and becomes hysterical when Kate tries to bring her through the front gates to run an errand in town.

The ending insinuates that the audience was supposed to be wondering whether or not Kate was encountering ghosts or simply imagining them as the result of inheriting a mental illness like what her mother has. There is not enough presented in the film to put the focus on this mystery. When Kate escapes with the children, the story jumps back to a point of her midway through the story when she is receiving a care package of blackened drawings from her mother. It's never clearly established whether this time jump is the result of Kate having some sort of psychic vision, if she is now a ghost stuck in some sort of supernatural time loop, or any other sort of explanation that would leave the audience with a sense of understanding of the story's conclusion. Even more baffling is the jump to a shot of Kate's eye that was shown previously in the film as an at-the-time unknown spectator of Kate being tormented by the ghost of Miss Jessel. There's one last jump to Kate being at the psychiatric facility and being frightened by a vision of her mother, or at least, we think that's who she was encountering since we never got to see her mother's face in the final stinger.

The film is a failure in every attempt at building a mystery to follow through on. The final sequence of footage (roughly the last minute of the film, sans credits), all reads like footage that was originally intended for other purposes but got thrown together for a baffling and clumsy ending to a dull, un-frightening horror film.

PORTLAND, Ore. 01/24/2020 — New York Times bestselling writers Scott Snyder (Batman, Justice League, American Vampire, Wytches) and Charles Soule (Curse Words, novels The Oracle Year, Anyone) and artist Giuseppe Camuncoli’s (The Amazing Spider-Man, Darth Vader, Hellblazer) Undiscovered Country is turning heads with multiple sell-outs at the distributor level and issue #3 is being rushed back to print in order to keep up with skyrocketing demand for the hot series. In Undiscovered Country, readers journey into an unknown region that was once the United States of America—a land that’s become shrouded in mystery and literally walled-off from the rest of the world for decades. A small expedition enters the former US in search of a cure to a humanity-ending pandemic. They travel inward and learn the secrets of what America has become; each member seeking their own form of truth in the undiscovered country. For issue #3, the expedition undertakes a desperate attempt to rescue a member of the team from the Destiny Man's strange caravan city. Success or certain doom hinges on Americana expert Ace Kenyatta, PhD—what he knows about the new lands…and what he doesn’t. The series was acquired early on by New Republic Pictures after a competitive bidding war for potential franchise development with Snyder and Soule attached to adapt the screenplay and serve as executive producers alongside Camuncoli. John Hilary Shepherd will oversee development. Undiscovered Country #3, second printing (Diamond Code DEC198444) will be available at comic book shops on Wednesday, February 19. Undiscovered Country #2, second printing (Diamond Code OCT199140) is available at comic book shops now. Undiscovered Country #1 fourth printing (Diamond Code DEC198445) will be available at comic book shops on Wednesday, February 19. Undiscovered Country is also available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play.

ABOUT IMAGE COMICS Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of bestselling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has six individuals on the Board of Directors: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, Jim Valentino, and Eric Stephenson. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline Comics, Skybound Entertainment, and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, fantasy, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

Issue #1 is sold out at the distributor level—new printing fast-tracked by Image

Image Comics has fast-tracked a fourth printing of Undiscovered Country #1 in order to keep up with the mounting pressure from fans looking to jump on board for the new series by New York Times bestselling writers Scott Snyder (Batman, Justice League, American Vampire, Wytches) and Charles Soule (Curse Words, novels The Oracle Year, Anyone) and artist Giuseppe Camuncoli (The Amazing Spider-Man, Darth Vader, Hellblazer). In Undiscovered Country, readers journey into an unknown region that was once the United States of America—a land that’s become shrouded in mystery and literally walled-off from the rest of the world for decades. A small expedition enters the former US in search of a cure to a humanity-ending pandemic. They travel inward and learn the secrets of what America has become; each member seeking their own form of truth in the undiscovered country. The series was acquired early on by New Republic Pictures after a competitive bidding war for potential franchise development with Snyder and Soule attached to adapt the screenplay and serve as executive producers alongside Camuncoli. John Hilary Shepherd will oversee development. Undiscovered Country #1, fourth printing (Diamond Code DEC198445) will be available at comic book shops on Wednesday, February 19. Undiscovered Country #2, second printing (Diamond Code OCT199140) is available at comic book shops now. Undiscovered Country is also available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play.

ABOUT IMAGE COMICS Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of bestselling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has six individuals on the Board of Directors: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, Jim Valentino, and Eric Stephenson. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline Comics, Skybound Entertainment, and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, fantasy, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

The FCBD edition of Fire Power #1 will be unleashed on Saturday, May 2. Following a month of anticipation, Fire Power #1 and Fire Power #2 will be available for sale on Wednesday, June 3. The Eisner Award winning team of New York Timesbestselling, comics titan Robert Kirkman (Oblivion Song, The Walking Dead), artist Chris Samnee (Daredevil), colorist Matt Wilson (Paper Girls, The Wicked + The Divine), and letterer Rus Wooton (The Walking Dead), bring fans an all-new, full color, action-packed ongoing series—Fire Power—which will launch from Image/Skybound this Spring. First with the Fire Power: Prelude, Vol. 1 original graphic novel on Wednesday, April 29. Then with the Fire Power #1 FCBD release on Saturday, May 2. And finally with the official single issue series launching with Fire Power #1 and Fire Power #2 simultaneously on Wednesday, June 3. This is the first new project from Kirkman since the surprise conclusion to his pop culture phenomenon The Walking Dead. Fire Power will more than fill a walker-shaped hole in your monthly pull list. This new series also marks Samnee's return to comics after wrapping up his best-selling run on Captain America that concluded in early 2018. Owen Johnson's journey to China to learn about his birth parents eventually leads him to a mysterious Shaolin Temple. The students there study to rediscover the Fire Power, the lost art of throwing fireballs. A power they claim will be needed soon to save the world. Will Owen Johnson be the first person in a thousand years to wield the Fire Power?

ABOUT IMAGE COMICS Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of bestselling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has six individuals on the Board of Directors: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, Jim Valentino, and Eric Stephenson. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline Comics, Skybound Entertainment, and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, fantasy, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com. ABOUT SKYBOUND ENTERTAINMENT Founded in 2010, Skybound Entertainment is a multiplatform entertainment company specializing in television, comics, film, digital content, interactive, gaming, and merchandise. The company is led by The Walking Dead creator Robert Kirkman and his longtime producing and business partner David Alpert.

Promo art by Rahzzah

A terrifying serial killer wreaks havoc in THE FINAL WITNESS #1 (of 5) this April!

Eisner-nominated writer RAY FAWKES (Batman Eternal) and electrifying artist JEREMY HAUN (Batwoman) present a captivating crime-noir mystery! Can a powerful new hero, a detective, and an investigative journalist solve this chilling case as more and more bodies are found in San Francisco? 

Here's a first look at the brand-new hero's origin!

Art by Jeremy Haun and Nick Filardi

Art by Jeremy Haun and Nick Filardi

"I'm thrilled to bring a crime-thriller twist to the Valiant superhero universe, and I'm excited to see the fans react to this book," said Ray. "It's a real ride, with a lot of twists and turns and some good, horrifying crime thrown into the mix."

The critically-acclaimed writer added that fans of his work are in for a real treat. "People who read my work know I love the darker side of things, and this book is one where I truly get to cut loose. I'm really looking forward to watching fans try to unravel the mystery!"

Art by Jeremy Haun and Nick Filardi
 

"I work with Ray Fawkes and our colorist Nick Filardi every chance I get," stated Jeremy. "They're some of the best talent in the business. It's exciting to be working together on this story for Valiant." 

Art by Jeremy Haun and Nick Filardi

"THE FINAL WITNESS is all about putting a twist on what it means to be a superhero -- what it means to be Valiant, even," teased editor HEATHER ANTOS. "Each issue we have new twists and reveals as we further reveal the mystery that I can guarantee readers won't see coming, and I can't wait for the journey to begin with the first clue in issue #1!"

The gripping crime-noir thriller begins in THE FINAL WITNESS #1 (of 5) on April 29th, 2020, featuring colors by Nick Filardi, letters by Clayton Cowles, and covers by Rahzzah, Michael Walsh, Caspar Wijngaard, Jeremy Haun, and Travis Escarfullery. Check out Nerdist for more information!

Exclusive Signing Tour Variant Cover by Christopher Hastings

Celebrate the release of QUANTUM & WOODY #1 (of 4)with writer CHRISTOPHER HASTINGS and artist RYAN BROWNE!

The world's best comic book creator duo will be at shops to talk about the world's worst superhero duo from Wednesday, January 29th to Wednesday, February 5th. Each shop will have the Christopher Hastings exclusive variant (amazing Tango & Cash homage pictured above). See below for details.


Wednesday, January 29th
Christopher Hastings at Bulletproof Comics
Brooklyn, NY
Starts at 5:00pm

Wednesday, January 29th
Ryan Browne at Challenger Comics + Conversation
Chicago, IL
River North location starts at 4:00pm
Bucktown location starts at 6:00pm

Friday, January 31st
Christopher at Forbidden Planet
New York, NY
Starts at 6:00pm

Saturday, February 1st
Christopher at East Side Mags
Montclair, NJ
Starts at 1:00pm

Saturday, February 1st
Ryan at Kowabunga Comics
Oconomowoc, WI
Starts at 12:00pm

Wednesday, February 5th
Christopher at October Country Comics
New Paltz, NY
Starts at 4:00pm

We recommend showing up early to the signings, just to be safe. Please contact the comic shops directly for more information.

QUANTUM & WOODY #1 (of 4) is on sale January 29th. Not to brag, but critics are already calling it "a fun, fresh start for the Valiant property." Don't miss it!

Sebastian Stan fans may be excited to learn that a new film starring Stan, The Last Full Measure, has been released in a modest amount of theatres. They may be less excited upon actually seeing it due to how lukewarm and meandering the finished product is.

Stan portrays Scott Huffman, a Pentagon employee tasked with investigating a case for a deceased Vietnam War soldier William H. Pitsenbarger that is mysteriously being deprived of a Medal of Honor that he had been on track to receive. A conspiracy in Washington DC should prove for a tense, dramatic viewing experience but the film fails to convey the necessary urgency that such a premise requires. Films like Official Secrets or Dark Waters were far more effective in building dramatic tension and suspense as the heroes dive deep into cover-ups and corruption. A large part of why The Last Full Measure is ineffective in this area is that it tries to do too many things, and consequently stretches itself too thin.

Scott Huffman is the audience's lens into the fictional world and a hero that should be rooted for. However, the writing fails to effectively introduce him before later dumping out exposition to claim that he has undergone some sort of development and transformation. There are lines of dialogue thrown out that claim he used to be highly career-driven and lacking in the necessary empathy to follow through on his investigation if it will risk a big promotion for his own career. However, the bulk of his character introduction shows him to be a loving husband and father with a new baby on the way, and a person willing to listen to the veterans he interviews for the case and let them open up on their own terms. There's never any doubt in the story that he will give up trying to help the veterans he is speaking to.

The film also shows repeated flashbacks to the day of combat on which Pitsenbarger displayed the bravery and velour that he is meant to be rewarded for. The overall flow of jumping between an investigation into a conspiracy, monologues for the other Vietnam veterans sharing their experience of that day, and the flashbacks to a bloody day of combat is sloppy. By trying to spin all three of these plates, each one ends up crashing with a dull thud. There's also a general lack of visual style to the filmmaking that further enhances how flat the viewing experience is. The ending is fairly satisfying but things drag on considerably before we finally reach it. There is even a point where Scott Huffman abruptly starts crying that doesn't fit into the final cut. It's all very middle-of-the-road when the story should have been more compelling dramatically speaking in its execution.

High-budget studio films are a massive undertaking, and today's sensationalist media reporting is such that people often like to take pleasure in the failure of any blockbuster that doesn't smash at the box office. But what happens when the latest box office flop is helmed by a highly beloved Hollywood A-lister.

Robert Downey Jr. has been making it very clear on the Dolittle press tour that he wanted to make a film that the youngest kids that follow him will be able to see. Though some parents are irresponsible enough to bring their shrieking children to a PG-13 Marvel film, other have enough sense to know that doing so simply isn't appropriate. Dolittle was a passion project to give the kids something that would be fun, full of wonder, and leave them with some good messages to take away by the time the credits roll. So what went wrong?

By all accounts, Dolittle should have been a hit. On paper, all the boxes are checked. A well-established series (the "Dolittle" books and previous film adaptations), a cast full of A-list names, and all the money needed to build a whole new world to get swept on an adventure in. Trouble first began brewing when rumours began to rise on Reddit regarding problems with production. There was talk of reshoots, actors not knowing what animals they were supposed to be pretending to act opposite, directors being replaced. There's no way of truly knowing what happened on set. It may have been as bad as the rumours claimed just as it may have been fine by typical movie-making standards, or anywhere in-between.

One of the main problems with the finished product of "Dolittle" is how clumsy the writing and humour is. There's an overabundance of the lowest type of humour, particularly in regards to bodily functions. Those are the types of jokes that only five-year-olds would laugh at. The climax of the film is Doctor Dolittle doing a colonoscopy on a dragon and after unclogging it, the dragon farts (you can see this moment in the film's trailer).

On the other hand, there are too many sporadically thrown-in modern references for pop culture and slang. An octopus says "snitches get stitches." Ants re-enact dialogue from The Godfather. Dolittle lacks a clear identity and or intention in what style it wants to be. The anachronistic references could have worked if it had been fully committed to, and embraced for all the style it can add to the film, as opposed to distracting from the more emotional and dramatic stakes of the story. The humour is so poor, despite having so many talented names in the cast, that it's likely down to a combination of poor writing and choppy editing.

With films like Pirates of the Caribbean (the first one or two) and Maleficent being successful adventure and fantasy stories that work well across age demographics, Dolittle had the right pieces to follow in their footsteps. It's not entirely clear what the main source of the misfires is. But if there is anything the film does right, it's the more heartfelt messages that the kids watching are supposed to take away from the story. Dolittle's adventure stems from a need to save the sick Queen or else the deed to their land will get sold off. Dolittle would be out of a home and a job, while all his animal companions living in the sanctuary would be thrust out into the wild right in the middle of hunting season. Additionally, the young boy Tommy who aspires to be Dolittle's apprentice has some nice subtext in his character arc. While Tommy comes from a family of hunters, he has a more empathetic attitude towards animals. When he comes wearing a fancy scarf gifted to him by the Princess, his father immediately chides him for his attire. When you see Tommy saddened at overhearing his father questioning why his son isn't more like the rest of the family (hunters), you can't help but note that children watching who similarly come from harsh families that don't understand them can feel hope that they too can find a home, adventure, and supportive friends somewhere out in the world.

Though Dolittle has been poorly received by adults, it still has enough going for it to appeal to small children. If you are a parent, older sibling, relative, etc. it could be worth adding to your child's collection.

Watch our video review of "Dolittle" here:

I decided to watch the first two Bad Boy films before seeing "Bad Boys for Life" and I won't mince words. The first two Bad Boys films have not aged well. The score in the first one is particularly unbearable (there's a dated, porno-saxophone playing very loudly when a sex worker is shot by the bad guy), and the second one had Will Smith making a threatening joke to an underage boy about him  getting sexually assaulted. The reason why those films have endured enough for a third one to be created is the charisma and chemistry between the two leads, Will Smith and Martin Lawrence. Thankfully, Bad Boys for Life breathes new life and completely rejuvenates the franchise.

Bad Boys for Life has a respectable budget for a big-name blockbuster. However, with seventeen years having passed since the last one, 90 million dollars goes much farther because of how much technology has advanced to enhance the overall look of the film. This is the most stylish film of the three, and the way that the camera moves through shots whether covering the heroes doing action or even the more simple shots looking down on Miami, it's very enjoyable to watch on an aesthetic level. The scoring has significantly improved since the series began, as this time they've stuck to classic orchestral instrumentation which is a great way to class things up from the humble beginnings twenty-five years ago.

Though I've not been generous in my feedback of the first two Bad Boys films, I still recommend doing a rewatch (or first watch) leading into seeing Bad Boys for Life so you can appreciate how well they've developed the characters and even managed to reference past plot points. Mike is the ladies man who has a new love interest with every film. In the second, it was Marcus' sister (played by Gabrielle Union) and they mention in passing how Mike had broken up with her some time since the second film ended. We also see Marcus' daughter get married to Reggie, the same boy she went on her first date with back in Bad Boys II. Reggie is also the same boy who Mike threatened with sexual assault, but let's just hope that the characters have become more socially conscious since then.

The only noteworthy critique I have is towards the treatment of Alexander Ludwig's character Dorn. He's introduced with a back story involving trauma, and at the end of the film he mentions having started going to therapy. When he asks the other members of the team to come to group therapy of him, they mock his request and the interaction is played off like he is the butt of the joke for having the maturity to care about his mental health. It's by no means out of character for the others to be resistant towards therapy but there were still far better ways to handle the already stigmatised subject matter of mental health.

Putting aside the stylistic improvements of Bad Boys for Life compared to its predecessors, the film's greatest strength is that it has given more dimension to the lead characters and the story. In the past it was just about two police officers having a case to solve with some funny banter along the way. This time around, the very fact that this is the third film of a series is treated as a strength. There is a long history to these characters in their careers and their relationship with one another, which is leaned into for dramatic weight.

Bad Boys for Life is refreshing in how it gives the characters and the audience room to breathe and take in what Mike and Martin have experienced psychologically and emotionally during this case and how it builds on all the turmoil they have experienced in the very dangerous job they have been working for decades.

Many people complain nowadays about how frequently sequels and reboots are being commissioned but considering how much time has gone by between each film, this sequel doesn't feel rushed at all. The first and second Bad Boys films were released eight years apart and Bad Boys for Life has been released seventeen years after Bad Boys II. The growth and evolution of Mike and Marcus is on display. Their friendship is the same, in the sense that fans are treated to their usual comedic banter, but this time there is far more depth to their relationship as well as them as individuals.

Will Smith's character arc is spectacular. Mike has been a pretty vapid character in this franchise but this time around there is true growth and evolution. Some people seem to forget how skilled of a dramatic actor Will Smith is, since his biggest blockbusters are often focused on comedy, action, or both. The people in charge of Bad Boys for Life made the wise choice to capitalise on Will's multi-faceted skills and give him more serious dramatic material to play in between gun fights and wise-cracking.

This is a sequel done right. It's entertaining, feels fresh, and effectively justifies why it exists in the first place. It doesn't feel like milking an already established property, it feels like a natural progression of the story and characters introduced in the first two film. Three films in a series being released over the course of twenty-five years works far better than twenty-five films being released over ten years. Just some food for thought.

One final note I'll leave you with is to be aware that there are some scenes in the credits, one of which is a vague, open-ended set-up for a potential fourth film (which Sony has officially announced after the opening weekend exceeded initial expectations). Check out Bad Boys for Life for fun, action, and heart!

Watch the video review of Bad Boys for Life here:

"1917" is the latest film to slip in as an awards show contender, with a bafflingly late release date (the film won two Golden Globes before it even had a wide release). The largest point of discussion has been the stylistic choice to film and edit the story to appear as if it's happening in one take. Though this reason might not be incentive enough to watch for those that don't enjoy historical war dramas, it should appeal to those with an interest in more advanced technical filmmaking techniques such as this.

Unfortunately, 1917 suffers from a Bandersnatch effect, as the novelty of this technical gimmick quickly wears off. The crew deserve all the credit for the difficult labour involved with creating this illusion, but as Duncan Jones recently tweeted, 'Cutting is like punctuation. It's a tool that can be as creative as the content.'

1917 would have benefited greatly if more consideration had been given to developing the story and its characters. It begins to feel very surface level in addressing the ethical dilemmas of war and combat, or the toll that it takes on the soldiers that fight in battle.

Will and Tom are the two lead characters tasked with delivering a message to stop some soldiers on their side from going into a battle where they'd be falling into a trap. The premise and execution of it on a storytelling level is very simple and straightforward. It's by no means a bad film, but it's peculiar to see it be ranked so high in the award show season. There are respectable performances from the lead actors, and the many A-list names that pop in for a scene or two, but overall it's just okay.

Watch the video review of "1917" here:

Additional Guests Include Teenage Mutant Ninja Turtles Creator Kevin Eastman, Wrestling Superstar Amy Dumas (“Lita”), Hockey Legend Darren McCarty and Many More!

Astronomicon 3, the Detroit area’s newest pop culture convention, has added even more guests to the eclectic lineup of pop culture icons appearing at the convention the weekend of February 7-9 at Wyndham Garden in Sterling Heights, MI. In celebration of the 25th Anniversary of the cult-classic Clerks movie franchise, Jeff Anderson(“Randal”), in his first-ever convention appearance, with reunite with fellow actor Brian O’Halloran(“Dante”) for a once-in-a-lifetime fan experience. “I'm really excited to be returning to Astronomicon,” O’Halloran says. “The first year it snowed 10 inches and the fans still came out in record numbers. This year I can only imagine how many people will come out to meet myself and Jeff Anderson for his first ever comic con!” From inside the squared circle, Astronomicon 3 has announced the appearance of WWE and Total Divas superstar Alexa Bliss, former pro wrestler and animal activist Amy Dumas (aka Lita), WWE Hall of Fame wrestling legend Brutus “The Barber” Beefcake and WWE superstar The Boogeyman. As previously announced, Teenage Mutant Ninja Turtles creator Kevin Eastman will make his first Astronomicon appearance at this year’s convention. “I am so excited to get the 2020 convention season started at Astronomicon,” Eastman says. “Team Eastman hopes to see you there! Cowabunga!” Anthony Michael Hall, the iconic “Brat Pack” actor known for his roles in The Breakfast Club, Weird Science, War Machine and Halloween Kills, has also joined the eclectic roster of guests. Says Hall, “I’m excited and looking forward to coming to Michigan in February. It’s going to be a fun show with lots of great people in attendance. We hope to see you there.”  In addition to Hall, Thomas Ian Nicholas (American Pie franchise, Rookie of the Year, Halloween Resurrection), RJ Mitte (Breaking Bad) and Alex Vincent (Child’s Play franchise, Curse of Chucky, Cult of Chucky) will join previously announced actors James Jude Courtney (Halloween), Tom Atkins (Halloween III, Lethal Weapon), Robert Carradine (Revenge of the Nerds), Bill Moseley (Rob Zombie’s 3 From Hell, House of 1000 Corpses, The Devils Rejects, Texas Chainsaw Massacre 2), Charles Fleischer (Who Framed Roger Rabbit, Nightmare on Elm Street, Back to the Future 2), CJ Graham (“Jason Voorhees” from Friday the 13th Part VI Jason Lives), Richard Brake (Game of Thrones, Rob Zombie’s 3 From Hell, 31), Walter Phelan (House of 1000 Corpses), Nathan Baesel (Leslie Vernon, Cold Case, CSI: Miami) and David Howard Thornton (Terrifier’s “Art the Clown”).   “In the words of Captain Spaulding, if you like blood, violence and freaks of nature, join me at the third annual Astronomicon convention,” says Bill Moseley. “It's one hell of a show, and I'll see you there!”   Astronomicon 3 promises to fulfill the pop culture cravings of fans attending from far and wide, with even more guests, including hockey legend and four-time Stanley Cup champion Darren McCarty; comic book writer Dirk Manning; Comic Book Men star and podcaster Ming Chen; creator of “Art the Clown” and director of horror phenomenon Terrifier Damien Leone; rapper Mickey Avalon; special FX artists Rob Miller (Face Off Season 8), Nora Hewitt (Winner of Face Off Season 9) and Get Dead Crew’s Megan Grant; MTV VJ and Scary Movie franchise actor Simon Rex aka Dirty Nasty; Troma Entertainment co-founder and The Toxic Avenger actor Lloyd Kaufman; James from the Dave & Chuck the Freak radio show; tattoo artists Saint Karlos and Steve Pelkey; speed painter/artist Dave Santia; cosplayers Ginoza Costuming, Ashlee Kalthoff of Disfusional Studios, Envy the Green Fairy and League of Enchantment; Ghostbusters Detroit; and Majik Ninja Entertainment artists AMB, Alla Xul Elu, Blaze Ya Dead Homie; and Astronomicon masterminds Twiztid, The all ages event will not only feature appearances, signings and photo ops with many additional activities – including live music performances, Q&A panels, cosplay and tattoo contests, a free play video game room and tournaments, a scavenger hunt and trivia. Confirmed in-costume photo opportunities include CJ Graham dressed as Jason Voorhees, Walter Phelan as Dr. Satan, David Howard Thornton as Art the Clown and Bill Moseley as Chop Top. Astronomicon 3 will take place at the Wyndham Garden in Sterling Heights, MI. Additional information on tickets, lodging, VIP options, full guest information, vendors and more can be located at www.astronomicon.com. In its inaugural year in 2018 – even in the midst of a blizzard that dropped over 14 inches of snow on the metro Detroit area on the same weekend – the event drew 2,000+ attendees from all over the world, selling out the hotel in less than one day and playing host to 20+ celebrities. In its second year,Astronomicon grew by 50% and had 3,500 attendees, and continues to grow as the newest pop culture convention in Metro Detroit. Astronomicon The Making Of: A Pop Culture Convention, a documentary that takes viewers behind the scenes to experience what goes into the production and end result of a convention, was released late last year via Amazon Prime. Through incredible convention video footage and interviews with organizers Twiztid, the hard-working Astronomicon staff, guests and fans, viewers will get a feel for the Astronomicon experience and learn why its dedicated fanbase has made it Metro Detroit’s fastest-growing convention. Watch the trailer for Astronomicon The Making Of: A Pop Culture Convention here: https://youtu.be/zDRosnPyTPc.  For more information, visit: http://www.Astronomicon.com http://www.Twitter.com/AstronomiconMI https://www.instagram.com/theastronomicon/ https://www.facebook.com/OfficialAstronomicon/ 2020@98kupd.com.

Like a Boss is a waste of potential. With comedic powerhouses like Tiffany Haddish, Rose Byrne, Jennifer Coolidge, and Billy Porter, you'd expect to have a hit. Though there are laughs to be had, they come entirely from the skills of the lead performers who are largely let down by a lackluster script and some shockingly choppy editing.

Tiffany Haddish and Rose Byrne play Mia and Mel, best friends who have started a makeup/beauty company together. They end up in considerable debt from starting their own business and decide to sign a contract with Claire Luna (Salma Hayek), a cosmetics mogul who has her own agenda when acquiring companies to add to her empire.

If this premise sounds familiar already,  that's because it's introduced thoroughly in the film's marketing campaign. The trailer gives away more than just the plot, but the vast majority of "comedic bits" as well. Whether it's Tiffany Haddish struggling to handle food that is excessively spicy, Tiffany Haddish threatening to jump off a high balcony in order to force a meeting with Claire Luna, or Billy Porter telling Mia and Mel to WITNESS. HIS. TRAGIC. MOMENT. the real tragedy is how much potential was wasted.

Perhaps most baffling of all is the ultra short run time of 83 minutes. This may account for why so much is given away in the trailer, as there is very little to draw from for marketing material. There was so much room to better develop the characters and flow of the story, since by the time the main conflict and fall-out happens, the resolution and wrap-up happens in what feels like five minutes (if you were to go back and time it it's probably closer to ten but the point still stands).

If you're a super fan of any of the lead actors and want to support their work, that's probably the only reason to show up.

Underwater is a fun execution of aquatic monster horror, and a great way to kickstart the horror-filled month of January. The film makes a bold choice to skip the traditional first act in the commonly used three-act system of storytelling. Being that the film is only 95 minutes in length, it knows what its concept is and what the core audience wants to see: monsters at the bottom of the ocean.

Though being at the bottom of the ocean means a limited ability to see the monsters that the humans come in contact with, it also helps to build suspense and tension. There's an added layer to the film's story in that the drilling is taking place due to a seedy corporation that is looking for resources regardless of the repercussions to the environment. In the current state of global climate crisis, Underwater resonates with an audience that has a strong emotional investment in the clash between humanity and nature.

Kristen Stewart plays the balance between emotional urgency and physical action well. Admittedly it would have been more compelling if her character Norah had been romantically involved with Emily, Jessica Henwick's character. Instead the two women are given lacklustre love interests that fail to effectively up the dramatic stakes in a meaningful emotional way. With such a limited amount of screen time available to let the audiences get attached to the heroes of the story, this would have made for a more cohesive way of mixing the character material in with the monster action.

“Incredibly entertaining.” —Entertainment Weekly

Image Comics is pleased to announce the return of the critically acclaimed series Bitter Root this February from Image Comics. Nominated for multiple awards including the Eisner and the Ringo—and hailed as one of 2019’s “Best New Series” by Entertainment Weekly—Bitter Root is currently in development as a film from producer Ryan Coogler and Legendary. The new story arc of Bitter Root kicks off with issue #6 and will feature the work of new colorist Sofie Dodgson. The monster-fighting Sangerye family as they embark on another adventure coming from Image Comics this February with Bitter Root #6. “We’ve put our hearts and souls into this new arc of Bitter Root,” said Walker. “Knowing that we had to top what’s already been done, and knowing that our readers deserve something exceptional.” In Bitter Root #6, the monster-fighting Sangerye family returns for another adventure. Loved ones once thought lost forever have returned—though the bliss of this family reunion doesn’t last for long. Cullen has changed, and everyone is concerned. But they’ll need all the help they can get, as a new threat has arrived on Earth… Brown added: “I channeled my darkside for this arc. Hell has come to Harlem and I love it. We’re taking our antagonists to a new level.” The Bitter Root series takes place in the 1920s while the Harlem Renaissance is in full swing and follows the Sangerye Family. Once the greatest family of monster hunters in the world, the Sangeryes must move beyond the tragedies of the past, or be forced to sit back and watch an unimaginable evil ravage the human race. “The anticipation of Bitter Root's return has been beyond exhilarating,” said Greene. “We can't wait for people to see where we are going with this story. I have never been more proud of a body of work.” Bitter Root #6 is also available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play. Fans can also subscribe to receive the series delivered by mail within the domestic U.S. on Image Direct. Bitter Root #6 Cover A by Greene (Diamond Code DEC190073) and Bitter Root #6Cover B by Chris Brunner [limited] (Diamond Code DEC190074) will hit stores on Wednesday, February 19.  Select praise for Bitter Root: “Incredibly entertaining.” —Entertainment Weekly "Historical fiction mixes with supernatural horror, producing a hybrid fantasy world of voodoo spells, mad science, monster Klansmen, and Jazz Age demon hunters wielding steampunk versions of Ghostbusters proton packs... Comics fans will look forward to future volumes of this energetic dark fantasy that effectively mixes thrills and scares." —Publishers Weekly "Relentless action...a kinetic style." —Library Journal "The comic is by an all-black creative team and features a predominantly black cast of characters in the 1920s—embracing the black artistic creativity of the Harlem Renaissance but also recognizing the racism of the time." —The Washington Post "The tragedy and family drama at the heart of Image Comics’ new series Bitter Rootmay be the most traditional thing about a comic that is, at heart, anything but traditional." —The Hollywood Reporter “A comic with a clear message, it never feels overtly moralizing, but simply an education as stark and brutal as the rad-as-hell monster-fighting horror that plays out in as the family goes about its work.” —io9 "Puts a monstrous face on bigotry and a beautiful new spin on the Harlem Renaissance." —The Onion's AV Club "Confident in itself and doesn't need to rely on overwrought high-concept themes. Bitter Root isn't afraid to tackle weighty issues while still having some fun, giving us some new heroes that are much needed in today's world." —ComicBook.com

ABOUT IMAGE COMICS Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of bestselling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has six individuals on the Board of Directors: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, Jim Valentino, and Eric Stephenson. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline Comics, Skybound Entertainment, and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, fantasy, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.