Cinematical fought through the massive crowds tonight on the convention floor to bring you tons and tons of photos from the 2008 San Diego Comic Con Preview Night. While we didn't spot too many people dressed in costume (except for a group doing a Batman theme), there were some very, very cool toys, games, statues, posters and movie props. Among the larger attractions was Nite Owl's ship from Watchmen (pictured below -- see inside by clicking through the gallery), a huge Iron Monger statue (in gallery), James Bond's hot set of wheels (in gallery), a ginormous Star Wars exhibit, with Star Wars: The Clone Wars statues alongside dudes in Storm Trooper attire (pictured above), as well as monitors displaying the new video game, Star Wars: The Force Unleashed (which looks hella cool).

Check out a few images from Preview Night below, then definitely make sure to head on over to the gallery to see what this year's San Diego Con is all about.

P.S. Masters of the Web panel tomorrow morning, 10am. Be there! Say hello! Make it look like I have friends!



Nite Owl's ship from Watchmen (more images from inside the thing down in the gallery).



Our friends in Batman gear!

Cinematical's Official Comic Con Hub

Cinematical has officially arrived in beautiful, sunny San Diego! We somehow found a way to get our press badge before anyone else, and I'm here with our first 2008 San Diego Comic Con gallery -- featuring images of all the cool little goodies they gave me when I picked up my badge. Among the lot, there was an issue of Mad Magazine that tackles Botchmen (instead of Watchmen), trading cards, stuff on the new Batman LEGO video game and a massive events guide. They'll be letting us into the convention in just a few hours for preview night, so I'll slide in there and see if I can't bring back anything cool to show you. But before we get to the gallery, let me just say this: If you've never been to San Diego, get your ass over here because this town is gorgeous!

Last thing (and most importantly): Check out Cinematical's official Comic Con hub for all the latest and greatest from San Diego, as well as Moviefone's awesome Con hub. It just launched now and it's a little empty (and lonely), but we'll be filling her up soon enough.

Time to get our Con on fools! Be back later ...

In less than 24 hours, myself, Scott Weinberg and Elisabeth Rappe will be in San Diego, overdosing on all things geek for the next five days. That's because the 2008 San Diego Comic Con is upon us, and there are literally hundreds of different things to do. We'll be sitting on panels (catch yours truly on the Masters of the Web panel), attending panels, interviewing stars, hanging with Storm Troopers, playing with cool toys, going to screenings (Fanboys, Tropic Thunder, Mutant Chronicles, etc ...) and, well, getting our dance on at some of the coolest parties this side of the galaxy. It's intense. We're excited. And if you're not able to attend, then you best be checking out Cinematical all day long later this week as we'll be shoveling out tons and tons of content.

And speaking of content, here's a taste of what you can expect from your pals at Cinematical:

Panel Coverage:

Masters of the Web
When: Thursday, July 24th -- 10am.
Who: Robert Sanchez (IESB.net), Garth Franklin (Darkhorizons.com), Mike Sampson (Joblo.com), Erik Davis (Cinematical.com), John Campea (TheMovieBlog.com), Brad Miska (Bloody-Disgusting.com), Eric "Quint" Vespe (Aintitcool.com), Devin Faraci (CHUD.com), Paul Christensen (Movieweb.com), and Kellvin Chavez (Latinoreview.com). Moderated by directors Mark Neveldine and Brian Taylor (Crank 2, The Game). Room 32AB

Watchmen
When: Friday, July 25th -- 11:55am
Who: Zack Snyder, Malin Akerman, Billy Crudup, Matthew Goode, Carla Gugino, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson



Much, much more after the jump ...

I stumbled out of Hellboy II: The Golden Army feeling as if my imagination had eaten too much. In terms of sheer spectacle and visual invention, Hellboy II is an absolute knockout, frames stuffed with bizarre creatures and mystic runes and arcane weaponry and wondrous design. And yet, Hellboy II has more than a little heart to it; it's scrappy and self-aware, and never out of touch with what it is. Adapting Mike Mignola's post-superhero retro-styled comic series Hellboy for the second time, writer-director Guillermo del Toro corrects some of the mistakes of the first Hellboy, makes a few mistakes of its own, picks itself up, keeps going. And, on the way, knocks the back of your eyeballs for a loop. As our British friends say, Hellboy II: The Golden Army does what it says on the tin: It is a sequel about a character named Hellboy (Ron Perlman), and yes, an army of golden warrior-robots is involved, the mystical weapon of mass destruction that the elf-prince Nuada (Luke Goss) hopes to seize control of so as to wage war against humanity ... I know I'm getting ahead of myself. Then again, so does Hellboy II, right from the jump, and it doesn't slow down.

Operating out of a small space on Fairfax, the nightclub Largo quickly became more a legend than a venue. Intimate and loose, part of the appeal of Largo is that you literally never knew (I only use the past tense as the club has moved from its Fairfax location to a larger venue on La Cienega in the past month) what, or who might turn up. Largo's where Jack Black and Kyle Gass did some of their earliest work as Tenacious D; Jackson Browne's dropped in to sing a few songs. John C. Reilly has hosted casual, extemporaneous chat shows there; composer Jon Brion (best known for his work on Paul Thomas Anderson's Magnolia and Punch-Drunk Love) has held shows where he alternates constructing songs out of intricately arranged loops of instrumental figures he records live and composes and conducts on-stage with spirited cover versions of requests shouted out from the audience.

Co-directed by Largo manager and co-owner Mark Flanagan and Andrew van Baal, Largo recreates the Largo experience; loose, smart, random and unique. Mixing concert musical performances with snippets of comedy, the final film makes you feel like you've been to Largo, even as the more elegant notes in the black-and-white composition and the vignettes of the club's rhythm and tempo between the acts make it abundantly clear you're watching a film that was constructed and not just a tape that was turned on.

Frank (Shane Andrews) is coming back to L.A. after some time away. He looks into a job, where the supervisor Larry (Seymour Cassel) says he can have the position " ... on account of you came all this way and you ain't drunk." Frank goes to the apartment he shares with his girlfriend, Rita, but she isn't there. He leaves her a note every time he steps out, but she doesn't seem to be getting them. And as Frank gets from point a to point b riding the busses and walking the sunburnt streets of Los Angeles, we have to wonder where he's going and where he's coming from. ...

Written and directed by Ben Rodkin, Big Heart City consciously evokes the 'beautiful loser' cinema of the 1970s, from the unrepentantly conflicted nature of Frank's character down to the presence of longtime John Cassavetes collaborator Cassel. Shot on 16 millimeter film -- a rarity in the digital video age -- Big Heart City not only has the grit and grain of old-school technology but the grit and grain of old-school storytelling. Frank goes to work; he goes to the track; he rehearses the stories he tells Larry, although we can't be sure if he's trying extra hard to convince Larry or convince himself. And the longer Frank waits for Rita, the more we see him bend and break under the strain of cruel hope.

Mike Jones over at Variety's The Circuit Blog posted yesterday the first 27 films announced for the upcoming Toronto International Film Festival (TIFF)and, not surprisingly, most of them hail from previous fest premieres at Cannes, Berlin and SXSW.

The Gala Presentation will be South Korean director Kim Jee-woon's The Good, The Bad and The Weird, which I saw at Cannes earlier this year and loved. Somewhat reminiscent of Tears of the Black Tiger, the film is a crazy, busy Western that centers around a map to a treasure happened upon by a (seemingly) bumbling fool, who ends up being pursued by a good-guy law-enforcement type, a wicked bad guy dressed in black, and, at one point, an entire army. It runs a little long, but it's funny and sharp, with a spectacular chase sequence near the end and a nice final payoff. Toronto film fans should really enjoy this one.

You know what I call 18 consecutive days of horror, sci-fi, action foreign, indie, obscure, and generally weird movies? Well obviously I call it heaven, but most normal people refer to it as Montreal's Fantasia Film Festival, which runs every July and throws a couple hundred features and shorts to a very ravenous crowd of genre freaks. And with folks like Mitch Davis, Tony Timpone, and Todd Brown (among others) on the programming end, you could probably just book a flight to Montreal without even checking the official Fantasia website.

I'm still not sure if I can make the trek up north next month, but I have been invited and (based mainly on the recently-released full lineup of flicks) I can pretty much guarantee that the current registrants are in for one hell of a good time. Among their selected titles, I can very strongly recommend All the Boys Love Mandy Lane, Dance of the Dead, Jack Brooks: Monster Slayer, Let the Right One In, Mother of Tears, [REC], Stuck, and Timecrimes -- plus they're offering solid titles like Fear(s) of the Dark, The Objective, Red, Second Skin, and Spine Tingler. Among the stuff I'm still drooling to see: Babysitter Wanted, Dark Floors, Midnight Meat Train, Pig Hunt, Repo: The Genetic Opera, and (of course) a new Uwe Boll flick. Plus this festival seems to offer more "Asian weirdness" movies than you'll ever find in one place. At least a dozen that look and sound certifiably insane, unless you'd define Tokyo Gore Police and Negative Happy Chain as "mainstream."

For a complete schedule, lineup, trailer bank, and tons of geeky goodness (in your choice of English or French!), click here and then here. (Montreal's not all that far away...)

Before the pre-festivals press screening of Boogie Man: The Lee Atwater Story, the new documentary about the life and death of Republican political operative Lee Atwater, two separate Rolling Stones songs were running through my head. "Street Fightin' Man, " possibly inspired by Atwater's reputation as a dirty trickster of the higher order, and "Sympathy for the Devil," perhaps springing from Atwater's deathbed renunciation of many of the things he'd done; both associations sprang from the little I knew about Atwater. Thanks to the work of director Stefan Forbes, I now know a lot more; I now know so much, in fact, I'm not sure what to think.

Combining archival news footage with interviews from people who knew Atwater and some who, interestingly, only knew him through the public ramifications of his work, Boogie Man paints a complex portrait of a complex figure: A race-baiting political operative (Atwater may or may not have been behind the infamous 'Willie Horton' ad that cost Michael Dukakis the election in '88) who nonetheless loved to listen to, and play blues music; a man who sprang from the South who helped elect Eastern elites like George H.W. Bush; a man whose pupils in the modern political art of war, Karl Rove and George W. Bush (who worked with Atwater on his father's campaign) turned their back on him as he lay dying.