This week, CJ’s in conversation with writer/director Paul Taylor and producer Alex Megaro of Driftwood, which won the Grand Jury Prize for Best Narrative at Slamdance this year. Also, Bernard chimes in to share his thoughts on this weekend’s gigantic release, Batman v Superman. We all know by now that the Zack Snyder-directed superhero mash-up hasn’t been received well by critics, but Bernard breaks down exactly what goes wrong in this woefully misguided missed opportunity of a blockbuster.

Topics

• Indie Pick (1:32)
• Batman v Superman (5:02)
• Paul Taylor and Alex Megaro talk Driftwood (18:46)

Articles Referenced

• Driftwood Review
• Spinning Plates Review
• Batman v Superman Review

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Like Paul Bunyan, Bigfoot, and Pecos Bill, the heroes and villains of Batman v Superman: Dawn of Justice are more mythical than super, writing a new page in American folklore as they split the skies with each thunderous blow. Director Zack Snyder‘s approach to DC’s now timeless characters is apt—few modern myths stand taller than Batman and Superman—but, as usual, the Watchmen and Man of Steel director gets lost in the grandeur, delivering a solemn, overly studied, slog of a movie.

The super-brawl promised in the movie’s title is as spectacular as anyone could have dreamed, but before we reach the main event melee, there’s a two-hour-long preliminary bout that sees Snyder pitted in a sweaty grappling match against complex themes of ideology and theology. Spoiler: he loses. Consequently, we lose too. By the time Batman and Superman (and a few surprise guests) get all bashy-bashy, stabby-stabby, we’re bored to tears by Snyder’s glorified lecture on man v god.

Henry Cavill returns as alien do-gooder Superman, who, at the story’s outset, is the subject of worldwide debate. His city-levelling battle with General Zod (Michael Shannon) at the end of Man of Steel cost the lives of thousands, calling into question whether his actions were justified and whether his presence on earth is a benefit or detriment to the future and well-being of mankind. Some see him as a messiah; others, an omnipotent pariah who could reduce our planet to dust should we refuse to bow down.

One man who has no plans of kneeling to “the Superman” is billionaire brooder Bruce Wayne (Ben Affleck). One of the buildings decimated by Superman and Zod was Wayne Enterprises, which toppled right in front of Bruce’s eyes, hundreds of his employees’ lives blinked out in what some would call “collateral damage.” It’s a tragedy that haunts Bruce almost as much as the memory of losing his parents to a mugger in that classic alleyway scene we all know so well from countless movie, comic book, and TV iterations of the Batman origin story (which Snyder mercifully zips through in the opening credits). The story picks up 18 months later, with the Bat keeping a watchful eye on the bulletproof Kryptonian as he patrols the skies, above all men and above the law.

Bruce and the rest of Superman’s detractors are given more fuel to feed their fire when more lives are lost during a rescue of his beloved Lois Lane (Amy Adams). A reactionary congressional hearing is held, calling for him to appear in court to consider the consequences and ethicality of his actions. As fear and paranoia surrounding the continue to spread, tech genius Lex Luthor (Jesse Eisenberg) offers a solution to the world’s Superman problem in the form of Kryptonite weaponry. All he needs is to get his hands on a chunk of the extraterrestrial rock, but his political maneuverings to do so are blocked by Senator June Finch (Holly Hunter, unexpectedly one of the movie’s strongest assets). As Superman is increasingly viewed as more of a threat than a savior, however, Luthor’s scheme begins to fall more easily into place.

For what seems like ages, Snyder and writers David S. Goyer and Chris Terrio bat around big ideas like the ever-evolving nature of homeland security and, most predominantly, the fraught relationship between man and god. The movie’s got the “god” part down: Batman, Superman, and the debuting Wonder Woman (Gal Gadot, a delightfully entertaining ass-kicker) come across as all-powerful goliaths, striking the most epic superhero poses this critic has ever seen (Snyder’s signature slo-mo, while as excessively implemented as ever, lends itself to characters of this magnitude).

As for the “man” half of the “man v god” thing, the movie drops the ball with an earth-shattering thud. The story’s obsessed with outlining the principles and lofty motivations of its heroes and villains without giving us a sense of what they are like as people. We’re so drowned in doom and gloom and planet-sized moral quandaries that we have no real grasp on what these heroes are actually fighting for. Clark’s got Lois and his mother Martha (a returning Diane Lane), and Bruce has got his butler Alfred (Jeremy Irons) and the memory of his parents, but all of these side characters are presented more as plot devices and pawns rather than living, breathing, relatable people. Snyder paints in such broad strokes that the nuances and details of our world are lost in the monstrous swirl of dark, folkloric imagery and ham-fisted dialogue.

When Batman and Superman finally fight, it’s so brutal and well-staged and irresistibly geeky that, while it doesn’t make up for the disastrous bulk of the movie that preceded it, it at least wakes us up from our stupor. Things get even better when Wonder Woman arrives to help them fight the Big Bad that eventually arrives to crash the party, and I’d be lying if I said I wasn’t enjoying the hell out of the climactic battle. If there’s a criticism, it’s that much of the dichotomous intrigue of Batman and Superman’s comic book confrontations is lost. When the two have battled on the page, the hook is that Superman should be able to crush Batman, but the fact that Bruce Wayne is not a good person (and is willing to cheat to win) gives him an unexpected edge. In the movie, Bruce is indeed a bad person; problem is, Clark doesn’t seem to be one either. He acts decidedly un-heroic on several occasions, flexing his super powers with a smug smirk on his face as he tosses Bats around like a ragdoll.

The character work is flawed all around, but this incarnation of Lex Luthor is the most confusing of the bunch. He’s more of a lunatic manchild cut from the same cloth as classic Bat-villain The Riddler than the imposing intellectual bully we’ve seen in the past. Is that a good thing? Sometimes. Eisenberg puts on a good, charismatic performance, and his wiry frame is an interesting visual juxtaposition to the heroes’ bulky physiques. But a part of me would rather have a supervillain who’s more menacing and less of a mischievous meddler.

Batman v Superman is a bonafide letdown, but the blame doesn’t rest on the shoulders of the actors. Everyone’s game and looks great, especially Cavill and Affleck, who are both black belts in the art of chin-jutting, come-at-me-bro machismo. Adams, Lane, and Irons are invaluable as they try valiantly to ground the story in some sense of realism. But alas, the script doesn’t give them enough room to work (the movie’s 153 minutes, for goodness sake). If the aim was to offer a more mature, “serious” superhero experience than Marvel Studios’ Avengers movies, Snyder and his team overachieved; this is as cynical, depressing, and emotionally hollow a blockbuster as we’ve seen in some time, a filmic representation of the adulthood misery that’s pushed the wonder of childhood fantasies out of the hearts of crotchety old-timers everywhere. Surely we were meant to have more fun than this.

As is the case with Quentin Tarantino‘s The Hateful Eight, you’ll find no heroes in John Hillcoat‘s likewise numerically titled Triple 9, a solid, well-acted crime-thriller in which nearly all of its dozen-or-so main characters carry a badge, though about half of them are crooked. These slimeballs use their position in law enforcement as a guise for a big-time heist operation; their non-criminal counterparts on the force are bent on smoking out who’s behind the bank robberies as the perps hide in plain sight just one desk over. The “good cops” aren’t as straight-laced as you’d imagine, however: Policing the rough Atlanta streets keeps their skin and wits tough and their scary obsession with putting the heist-pullers away could put innocent people in danger.

By all accounts, it was Hillcoat’s name that first compelled the stacked, A-list ensemble to flock to the project, and it was the complex, unpredictable, multi-protag script that got them to stay. Each talent—Chiwetel Ejiofor, Kate Winslet, Casey Affleck, Woody Harrelson, Anthony Mackie, and the list goes on—makes a big impression; this is an ensemble piece through and through. But the egalitarian approach to the ensemble doesn’t work as well as it does in Hateful Eight or even Tom McCarthy’s Spotlight because the characters’ murky motivations, combined with the dizzying, often disorganized plot, make the experience as a whole a little hard to follow. There’s too much to keep track of, too little to latch onto.

A team of trained professionals led by Michael (Ejiofor) pulls off a bank robbery in the heart of Atlanta. They’re working (reluctantly) for Russian mob boss Irna (Winslet), who’s tasked them not with bringing her bags of loot but with retrieving a safety deposit box she needs to free her husband from prison. Jorge (Clifton Collins Jr., terrific as usual) and Marcus (Mackie) currently work as cops and Michael and Russel (Norman Reedus) are ex-Special Forces. These four are cool as cucumbers but Russel’s strung-out younger brother, Gabe (Aaron Paul) nearly causes the caper to go South. Going forward, as they resume their lives post-heist, the sloppy Gabe will more than likely become a liability and the rest of the team knows it.

Draped in woefully mismatched, fake-fancy garb, Irna is a welcome change from the familiar crime boss archetype, at least in tone and, of course, gender. Considering this role and other, villainous turn in the Divergent series, it seems the Oscar winner’s developing a taste for the wicked. She’s really good at it: The blood boils when we learn Irna’s holding Michael’s son—who also happens to be her own nephew (Gal Gadot plays his mom)—captive, blackmailing him to reassemble his team and carry out yet another risky operation, breaking into a Homeland Security facility of all places. To pull it off, the team resorts to using a “triple-nine” (code for “officer down”), distracting local law enforcement as they snatch Irna’s precious cargo in the shadows.

They need a good (unsuspecting) cop to be the “triple-nine” and Marcus nominates his new partner Chris (Affleck), who’s just transferred from another division. The new guy has just been branded a walking dead man by his own partner. One of the many x-factors in the scheme is Chris’ uncle (Harrelson) is a detective on the force himself and is leading a tireless investigation on Michael’s undercover gang. When the shit hits the fan and Chris sits in Marcus’ crosshairs, it’s amid a tornado of unexpected betrayals, murders and changes of heart that change the complexion of the “triple-9” altogether.

The plot’s too intricate and the dialogue is too expository to give the character work the clear focus it deserves. The performers are terrific and enrich their characters even when their screen time is woefully limited but one can’t help but wonder how much smoother the movie would flow with less attention dedicated to the plot. There’s no central character, after all, so every moment the actors get is incredibly precious. Fortunately, the actors make the best of their constraints, with each of their characters ultimately sticking in your mind in one way or another. None of them (besides Winslet) are playing against-type, so they all seem comfortable in their roles, which works greatly in the movie’s favor.

Aside from the acting, the movie’s greatest strength is the action sequences which, despite being preposterously elaborate and chaotic are presented with great care. The action is surprisingly easy to follow, and Hillcoat’s gift is that his set pieces, as they move briskly along through interiors and exteriors and different neighborhoods, simultaneously immerse us in the gritty surroundings and thrill us with expertly staged gunfights, foot-chases and fisticuffs. As far as the action is concerned, the presentation is slick, slick, slick. If only the narrative would take a few steps back and let the human drama and gunfire take more of the spotlight, Triple 9 could have been tremendous.

Perhaps for the entirety of his career, Aaron Paul will be tied to the iconic role of Breaking Bad‘s burnout-turned-meth-hero Jesse Pinkman. It’s something he’s thankful for: “I’m very blessed to have played an iconic character,” he says graciously. Since that landmark TV show, Paul’s stayed away from drug-addict roles for obvious reasons. But when he was presented with the script for John Hillcoat‘s ensemble crime-thriller Triple 9, he jumped at the chance to work with the director, despite the fact that he’d once again have to pick up a pipe on-screen.

The decision paid off: Paul is an absolute standout in a movie full of Hollywood heavy-hitters including Kate Winslet, Chiwetel Ejiofor, Casey Affleck, Woody Harrelson, Anthony Mackie, Gal Gadot, Norman Reedus, Clifton Collins Jr., and more. Playing a member of a gang crooked cops pulling off an elaborate, dangerous heist, the still-evolving actor makes every onscreen minute count, creating a character with dimension and depth in what’s essentially a series of quick glimpses. Looks like he’s continuing to hone the tools he sharpened opposite Bryan Cranston on that seminal show forever doomed him to be referred to as “bitch” by his adoring fans. “I gotta take it in stride, you know?”

In a roundtable interview, I spoke to Paul about Triple 9, which is out in theaters nationwide today.

You’re sort of unrecognizable in this movie. The hair, the strung-out-ness. How did you go to that place? It feels like he’s so out of his depth at this point in his life.
He’s going through a lot. It was kind of easy; it was just on the page. I think these characters were so well developed before I even attached myself. Before we even started, John gave us all a giant folder of information, a dropbox that just kept filling up every day with images that are impossible to erase from your mind. Decapitated heads…he wanted us to draw from our own knowledge.

He had me go on some ridealongs with the LAPD and I saw some pretty crazy stuff. We drove around East L.A. in a neighborhood I’ve never been to in my life. You just see how cops are viewed. We pulled over this guy whose girlfriend had just been shot. She was in the front seat, his mom was in the back seat. This was now his third strike because he had a loaded gun on him with the serial number scratched off. Things got pretty real. He was arrested went down to the station. They take off his shoes, he’s handcuffed to this bench, and they ask me if I want to go in and interview him. He has tattoos all over his face—scariest guy I’ve ever seen in my life. I’m like, “No…I don’t want to go.” There was no reason for me to go interview him but I did end up going in to talk to him. He ended up being a fan of Breaking Bad, which is pretty funny.

What was your reaction to the script and this idea of these characters pulling off a “triple 9?”
God, I loved this script. I knew with John holding the reigns it was going to be such a brutal telling of this story but in a grounded way. I didn’t know what “triple 9” meant before shooting this film but it absolutely makes sense. If someone wants to cause a distraction in the police force, that’s definitely the way to do it. I love the story.

Early in the movie, you and Norman have a pivotal scene together. I think it’s such an important scene because you have to establish a lot of the emotional stakes for what’s to come for those characters.
Norman and I have been friends for the past sixteen, seventeen years. It’s the first time we’ve worked together, and we’re playing brothers, so we already have that bond, that love there. That scene you’re talking about was an added scene we shot after we were done shooting. They wanted to do just that—raise the stakes, really let people know that these guys aren’t just friends; they’re brothers. They love each other. It was great. I love that scene.

There are similarities between this character and Jesse Pinkman. Do you feel constrained by how iconic that character is?
I definitely don’t see Jesse Pinkman leaving me anytime soon. I know for the rest of my life I’m going to be called “bitch.” I gotta take it in stride, you know? I’m very blessed to have played such an iconic character [on a] show that became a part of television history. He’s a part of pop culture. It’s all about trying to do something different from that guy. This is really the first role since that show where my character’s picking up a pipe. I get offered drug addict roles all the time, on a weekly basis. I just try to stay away from that. But this script was impossible to ignore. It was beautiful. And, of course, John Hillcoat was the first name I noticed before I started reading it. It was a great ride, but when [my character] picked up the pipe, I was like, “Aww…Does he have to do that?”

The movie felt a lot like Heat.
Yeah. Heat is one of those timeless films. I really hope Triple 9 becomes that. My father-in-law was so excited. “It was like Heat! It’s like Taxi Driver!” I agree with him. It’s one of those gritty, brutal, crazy films.

You’re an actor who acts with his whole body. I appreciate that. Is it something you think about when you’re on camera or no?
It just kind of comes with the territory for me. Every character’s a little different. The only similarity is that I tend to gravitate toward characters that are going through a lot, emotionally. I think emotions run through your entire body. You kind of put yourself in a situation and force yourself to believe in whatever’s going on and hopefully people buy it.

In Need For Speed you were at the head of the ensemble. For this movie, it’s more of an egalitarian mix. How are those experiences different?
[One’s] less work, less shooting days. But I love them both. I love the ensemble cast. There are twelve main characters in this film and everyone has such a pivotal part in the story. With Need For Speed, I was in almost every scene. It was a lot of work.

What about the next movie, Eye in the Sky? What’s it like going from playing a criminal in this movie to playing someone who’s straight-laced and in the military?
I do play the darker side of things. But I always try to bring some sort of heart to my characters. With Triple 9, he’s technically a bad guy but you feel for him. He has a line he will not cross and this is that line, so he’s desperate to stop it from happening.

He’s really the hero of the movie.
Finally, someone said it! [laughs] It’s great being the bad guy and it’s also great being the good guy.

Who’s an actor that would be a dream for you to work with?
Oh man, there’s so many. I think probably Daniel Day-Lewis. He’s my favorite actor, for sure.

How about actors who aren’t alive?
You’re really changing things up on me, man! I would love to work with Marilyn Monroe. She’s such an idol, such a legend. I’d just love to kind of hang out with her in between takes and see what she’s all about.

In reaction to a leak to file-sharing sites on Thursday, Warner Bros. released the official HD version of the Batman v Superman: Dawn of Justice trailer Friday afternoon.

Though it frankly isn’t the most exciting thing in the world (it’s pretty dour, actually), the trailer drops some significant clues regarding the film’s central conflict, which is likely ignited by the cataclysmic battle that capped off Man of Steel. The world seems divided on the hot topic of the red and blue alien from Krypton, some christening him a savior, others renouncing him as an untrustworthy totalitarian.

In a sonic collage of Superman-related sound bytes, we hear the voices of real-life figures outlining the implications of the hero’s existence, Neil Degrasse Tyson being the most notable of all. “We’re talking about an alien whose very existence challenges our own sense of priority in the universe.”

Though Clark probably isn’t comfortable atop the messianic pedestal the world’s put him on, he nonetheless appears to have most of the world groveling at his feet. There are clearly dissenters, though, as is evidenced by the shot of a statue of Superman at the beginning of the trailer, the words “FALSE GOD” painted across his chest by non-believers.

The biggest non-believer of them all, it seems, is Bruce Wayne, played by Ben Affleck. We get a good look of Bat-fleck in the Bat-suit (glowing eyes and all) near the end of the trailer as he stares up defiantly at Henry Cavill‘s Superman, hovering overhead in the middle of a lightning storm. It all looks epic and badass as hell, but you know what? The Man of Steel trailer looked awesome, too. So…maybe we should take a cue from Larry David and curb our enthusiasm.

In the comics, the reason Batman would often best Superman when they did battle pertained to their moral make-up: Clark Kent is a good person; Bruce Wayne is not. Clark, knowing he could crush Bruce with his pinky, holds back his punches, while Ol’ Bruce-y is never above cheating (i.e. shoving Kryptonite shanks into Clark’s ribcage) to gain an advantage. It’ll be interesting (nerve-racking) to see how director Zack Snyder plays with this dynamic. “Tell me, do you bleed?” Batman threatens near the trailer’s end. “You will,” he promises. Sounds good to me.

We’ve still seen little to nothing of the rest of the super-powered and super-evil ensemble cast, including Gal Gadot‘s Wonder Woman, Jason Momoa‘s Aquaman, Ezra Miller‘s Flash, Ray Fisher‘s Cyborg, and Jesse Eisenberg‘s Lex Luthor, though I’m willing to bet we’ll get a good look at them in the coming months. Until then, we’ll just have to wait until the film arrives on March 25th, 2016 to see how in the hell they’re going to cram introductions to all these gigantic heroes in one itty bitty movie. Check out the trailer below.

Saturday at Comic-Con is the closest thing to being in one of the many fictionalized dystopian futures of literature and film that keeps the fans coming out to the convention. Comic-Con-ers camped out the afternoon of Friday and over-night in order to finally gain access to Hall H at 9am Saturday morning. Some of them are “Hobbit Heads” — fans of Peter Jackson’s Tolkien franchise — and thus were anticipating the first panel of the day, but the majority of those sleep-deprived, un-showered fans were looking forward to an entire day of movie news and insider scoops, especially the end of the day’s Marvel panel.

And boy were they rewarded.

Warner Bros. Pictures

The first panel of the day was anything but subtle. Immediately beginning with what fans would most want to hear about: Batman v. Superman: Dawn of Justice. Director Zak Snyder brought in Batfleck himself, Ben Affleck, along with Superman, Henry Cavill, and the film’s third superhero, Wonder Woman, played by Gal Gadot, though why she has a sword and not a whip is beyond us. Curtains on either side of the hall revealed extra screens, the better to provide a sensory immersive experience for Snyder’s Batman v. Superman teaser.

The very short teaser showed Batman on a rooftop on a dark night, his eyes glowing through the mask of his Batsuit. He turns on his Batsignal, illuminating the sky and revealing Superman floating in the air, red eyes fixed on Batman. The two stare each other down a moment and it’s over. Hardly anything at all, but it was more than enough to excite the crowd of over 6,000.

Along with character shots, including a look at Wonder Woman’s outfit, Snyder showed off the film’s logo and assured the crowd filming is going “amazingly well”. Plan is to release the film May of 2016.

Next up, they jump straight into the Wachowskis’ Jupiter Ascending. No Wachowskis in the house but out comes Channing Tatum to say hello and show some footage. Tatum’s eye-makeup-ed Caine, talking to Mila Kunis’s Jupiter Jones about her role as monarchy in the universe. Lots of cool visual elements, great fight scene between Tatum and a winged-monster. It looks like the sort of visual fare we love from the Wachowskis, let’s hope the story doesn’t get in the way too much. They move quite quickly into the next big project for WB, Mad Max: Fury Road. Charlize Theron says hello in a video and then they show a video recap of the previous Mad Max films… which transitions into footage from the new film. A canyon and lots of post-apocalyptic vehicles. Director of all the Mad Max movies, George Miller, comes to stage and tells us that he considers chase scenes to be the purest form of cinema, and so he wanted to make a film that was one long chase scene. No Tom Hardy, but Miller reveals their won’t be a lot of dialogue in the film. They close this portion with more footage, a chase involving lots of tornado dodging.

And then, with still an hour to go in the panel, they move on to what people most wanted to hear about: The Hobbit: The Battle of the Five Armies. And that’s when Stephen Colbert takes over the panel as moderator, dressed in head to toe Hobbit-wear. First some funny video, mostly a gag reel from all of the movies. Then a huge chunk of the cast takes the stage along with Peter Jackson: Andy Serkis, Elijah Wood, Evangeline Lilly, Benedict Cumberbatch, writer Philippa Boyens, Luke Evans, Lee Pace, Orland Bloom, and Cate Blanchett. They joke about each LOTR movie deserving two more films with Colbert saying “You owe me 6 more Lord of the Rings films,” “If Warner can find a way to do that” Jackson pokes. After some discussion they finally play the trailer for the new film which features a decimated Laketown as Smaug blows fire all over it. Lots of soldiers and armies assembling. The song Billy Boyd sang during Return of the King plays in the background as we see a chase scene on ice, a flash of Sauron, and Bard asks Thorin “Will you have peace or war?” to which Thorin responds “I will have war!” The panel ends with an announcement for TheHobbitFanContest.com, a chance to go to New Zealand to see the latest film before it’s released.

Legendary Pictures

After two hours of WB, the crowd is obviously not as enthralled for Legendary picture’s announcements, but there is plenty to be excited about. Thomas Tull, CEO of Legendary comes out. A video from Godzilla director Gareth Edwards where he says once he’s finished with “a little sci-fi film” (the Star Wars spinoff) he’ll return to Godzilla with the second film. They tease us with a little video that reveals the potential new monsters Godzilla will fight: Mothra, Rodan, and Ghidorah. “Let them fight” it says. Crowd likes that.

They show an extended preview of As Above, So Below, the new horror film in the catacombs of Paris. You can see the trailer here. Moving on, Michael Mann makes his first Comic-Con appearance to discuss Blackhat, a cyber hacker thriller. The footage they show is interesting but a bit generic. Chris Hemsworth, star of the film, comes out to chat but mostly just proves he doesn’t know much about coding and computers. Wrong audience dude.

Finally someone we can get behind, Guillermo del Toro (who we saw in Thursday’s Book of Life panel) comes out to talk about Crimson Peak. Apparently excited not to be discussing a children’s film, del Toro takes the opportunity to make use of colorful language. He gives us a brief first look, though the film is a year and a half away, so not much. The logo covered in blood, Tom Hiddleston’s voice, “Houses as old as this one become, in time, a living thing. They may have timber for bones and windows for eyes, and sitting here all alone, it can go slowly bad. It starts holding onto things. Keeping them alive when they shouldn’t be. Some of them good. Some bad. Some should never be spoken about again.” It’s satisfyingly creepy, along the Pan’s Labyrinth route. Even more satisfying is del Toro’s use of a female lead, Mia Wasikowska, and his comment that he wants a story about a woman that shows their life beyond getting the man, that there is more to a female then her love interests. We can’t wait. He teases about Hellboy 3 (which gets a huge audience reaction) and At the Mountains of Madness (which gets decent applause).

Next up is Warcraft. Director Duncan Jones explains they wanted a LOTR style set with Avatar-level CG. They show some brief footage that does show some decent CG art. Thomas Tull ends the panel telling Guillermo to finish Pacific Rim 2 and then they can discuss his other projects. Then he shows a brief clip of King Kong and the title “Skull Island.” Looks like we have a prequel or sequel on our hands?

The Boxtrolls

All day people were joking that Boxtrolls got both a great spot and bad spot for their slot at Comic-Con. For one, they were guaranteed an audience as no one would leave Hall H before Marvel, and yet all those fans would be extra tired by the time Boxtrolls was up. And sure enough, plenty of sleeping people in the audience during this panel. But they did show an adorable clip of the Boxtrolls digging through garbage and playing with a ragged teddy bear. Cuteness overload and the stop-motion animation looks absolutely flawless. A short panel with Elle Fanning, Sir Ben Kingsley, and Isaac Hempstead along with creators Travis Knight, Anthony Stacchi, and Graham Annable allowed them to describe in greater detail just how long (8 years) and strenuous it is to make films like this.

Frank Miller’s Sin City: A Dame to Kill For

A strange follow-up to so cutesy a film, next up is the gritty sequel to Robert Rodriguez’s Sin City. A bit strange to see a sequel 10 years after the original, but when you’ve got all the original creators and actors working on it, no one is complaining. Rodriguez and Frank Miller were both on hand to discuss the film along with cast members Rosario Dawson, Jessica Alba, and Josh Brolin. The extended preview they gave us looks just as cool as the original, which really hasn’t yet been recreated successfully in other films. All the skin, guns, cars, and well placed color you’d expect. It looks incredible, but we’re still a bit dubious Miller and Rodriguez are going to get the reception they hope for. Let’s hope 10 years is enough time to build up some good nostalgia.

Marvel Studios

After what was almost exactly 24 hours of waiting for many in Hall H, the fans finally got what they were waiting (and chanting) for.

The panel began with a reel of all the Marvel films, edited together to effectively show the many ways they have all crossed paths and fit together. In it was a little bit of footage from Age of Ultron, teasing the audience for what they most wanted info on. The reel morphed into a Guardians of the Galaxy trailer which ends with Thanos floating through space on a throne. Kevin Feige, President of Marvel, came out and told audiences we’d be talking about 2015. And he meant it. Not much beyond next year was covered.

First up was Ant-Man, and he brought out Peyton Reed, the film’s new director (after Edgar Wright’s drama-filled exit). Determined to assure audiences he was the right man for the job, moderator Chris Hardwick asked about Reed’s past with Ant-Man, and he showed the audience a drawing he once did, where he turned himself into Ant-Man for a band picture. Reed also admitted this was his 20th time at Comic-Con. Clearly they are out to prove Ant-Man is in good hands. Out comes Paul Rudd who will star as Ant-Man, along with Evangeline Lilly, who they’ve just revealed will play Hope Pym, Corey Stoll (who they revealed will be Yellowjacket), as well as Michael Douglas as Hank Pym. After a few comments from the actors — Lilly knows almost nothing about her character as she’s not yet seen a script, Stoll alludes to his character being the scientist bad-guy, and Rudd prepares for superhero stardom — they played a video made just for Comic-Con, as the film hasn’t started any filming.

In it they pan around a laboratory while Michael Douglas’s holds a conversation with Rudd as Scott Lang, Ant-Man’s alter ego, asking Lang to do a “small” job for him (Lang is a thief). They jump to a costumed Lang running through a room, then a hallway, a man holds a gun up to him and he morphs into the tiny version of himself landing on top of the gun. Then more footage of him riding the back of a flying ant. The perspective is great, and even if this is conceptual footage, it looks really good.

Moving on to what fans most wanted Michael Jackson’s “Don’t Stop ‘Til You Get Enough” plays as the cast of Avengers: Age of Ultron take the stage. Robert Downey Jr. charms the entire audience with flowers (which he handed out to his female co-stars as well). Most exciting was the newest Avengers, Aaron Taylor-Johnson as Quicksilver, Paul Bettany as Vision, James Spader as Ultron, and Elizabeth Olsen as the Scarlet Witch. The only notable missing persons were Scarlett Johansson and director Joss Whedon who just had knee surgery and couldn’t attend. After some fun banter with the entire panel — Hemsworth joked about the new sex-change of his character being his chance at an Oscar, Elizabeth Olsen says she’s been practicing staring at pencils for months willing them to move, and Robert Downey Jr. asks that she soon release him from the spell she cast on hims as “it burns” — we finally get a trailer for Avengers: Age of Ultron.

It begins with a dinner party with all the Avengers playing a party game where each tries to pick up Thor’s hammer. Tony Stark jokes that if he can do it, he gets to rule Asgard, right? It doesn’t budge, he tries again with the Iron Man glove, no dice. Not with the help of Cheadle’s War Machine hand either. No luck from Bruce Banner, but he wasn’t in Hulk mode, so… Hawkeye is a no go. Black Widow says that’s not a question she needs answered and Captain America gets the hammer to budge slightly which causes Thor obvious alarm. He picks it back up himself, satisfied, when suddenly a voice booms out at them. James Spader’s mechanized voice of Ultron, telling them that the only path to peace, is their extinction. As the hyper aware robot, built by Stark, Ultron plans to wipe them all out as the only way to solve their war problems. Cut to devastation, battle sequences and a creepy rendition of the Disney Pinocchio song “I’ve Got No Strings” sung behind the footage. Ending with a shiny new Ultron saying “I’ve got not strings on me.” The puppet has become the puppet-master. It looks awesome.

There’s nothing else to say. And that’s the end of the panel, except, a quick appearance by Josh Brolin donning Thanos’ Infinity Gauntlet. Which the audience loves. Especially when Downey Jr. offers him a flower, and Brolin commences to tear it up in his mouth and chew on the petals. Oh yeah, he should do nicely for ultra-villain Thanos. You can watch the panel (minus footage) here.

That’s Saturday at the con folks. Crazy long and so much happening. That pretty much concludes the film events of Comic-Con so it’s time this girl went and caught up on a heck of a lot of sleep.