Thursday, February 5, 2026

Now Showing: Man of God

 
Man of God
Genre: Drama/Thriller
Director: James Mangold
Writers: Sammy-Jo Ellis & John Malone
Cast: Josh Brolin, Robert Aramayo, Michael Shannon, Melissa George, Jon Voight, Billy Howle, Emma Myers, Tim Blake Nelson

Plot: A big media hullabaloo surrounds a West Texas prison, surrounding the upcoming execution of convicted serial killer, Christopher Charles (Michael Shannon). He has accepted his fate and declines a final meal, instead he asks to meet with a Man of God instead. The warden asks Christopher what denomination he requests, Charles chuckles saying he has no interest in religion, he just wants to meet with one. There is only one man of God the warden is able to get a hold of on such a short notice. Local Baptist pastor, John Simonette (Josh Brolin).

John looks hesitant as he approaches Christopher’s cell. The two of them meet privately in Christopher’s cell. John takes a seat as Christopher tries to hide a smile from him. John tries to get to talking about the bible and asking what Christopher wanted to tell him. Christopher tells him he doesn’t care for any religious bullshit, he just wants to talk. He continues telling John he did not act alone in the murders. John looks to the door but can see no-one. In the cell, the atmosphere is oppressive, made worse by Christopher's unsettling demeanor. Christopher tells John that he wants to confess that he committed the murders with his younger brother Cole. Christopher says that he imagines Cole is going by a different name in a different town by now, but he believes that Cole is going to continue to kill on his own. Christopher's tone shifts to one of remorse. Christopher feels bad about leading his little brother down such a path, but he decided to take all the blame on previous murders and hope his brother will find some reason or higher power to stop. The warden and guards come for Christopher and lead him to his execution by electric chair. He waves to John as he walks by. John watches from the gallery as the volts of electricity violently take Christopher's life.

John approaches Warden Willis McKerchar (Jon Voight) and tells him about Christopher’s confession, telling him about Cole. Warden laughs it off saying Christopher’s brother died 10 years ago, there is no-one out there continuing his killing. John walks away in thought.

John lays in bed that night, unable to sleep, next to his sleeping wife. He gets up and decides to pray. As he prays, he notices that the clocks have stopped in his house. A sign from God? John decides to take it into his own hands, he believes Christopher was telling the truth.

John begins researching Christopher Charles' murders at the library, even bringing articles home. Along the way he makes some gruesome discoveries about the murders. His wife, Birdy (Melissa George), is concerned by this as John usually only reads the Bible or the sports section of the local newspaper.

Birdy is in the kitchen preparing a dinner for the two of them and her father, McKerchar. John sits and continues to read through some articles about Christopher and the supposed death of his two brothers in a house fire. McKerchar knocks at the door, Birdy goes to answer not before telling John to put the articles away. Willis is greeted with a hug from Birdy and a handshake from John. The three of them sit down for a pleasant meal, not before praying. Not much small talk takes place. Along the line Birdy let’s slip John’s research into Christopher Charles. Willis looks to his son in law, asking why on Earth would he be doing that, he should not get caught up in things like that. John asks Willis if he is truly sure that Christopher acted alone in his crimes. After all, his brothers bodies were never named, merely that two bodies were found and could not be recognized in the home. Willis dismisses the questions with a chuckle, insisting the state dealt with a guilty man and that's all that matters. Willis stands and thanks Birdy for the dinner before walking out the door. She looks to John shaking her head, saying he should never have questioned her father’s judgement. He has been doing this for years. John tells her he knows and he is sorry.

John prays after dinner, he questions whether he should stop on this goose chase or whether his gut is right. Birdy turns the radio on where he hears the weather forecast. It is raining most heavily in the city of Alpine, to John’s shock, Christopher’s hometown. He thanks the father, and packs a small bag, to the behest of Birdy, he tells her he has been called out to a church near Alpine tomorrow. He places a kiss on her lips before the two head to bed.

The next morning John drives on in toward Alpine. He stops along the way at a gas station, just on the outskirt of town. He waits inside for the cashier to pay for some gas. The cashier, Coen (Billy Howle), walks back into the store from the public toilet, he holds a shovel, with blood on the tip of it. John starts to feel slightly uncomfortable. Coen apologizes to John for keeping him waiting, there was a snake in the bathroom. John tells him that is no problem. The two strike up a little small talk with John asking why its so quiet. Coen tells him this is the quietest gas place in and around town, he thinks its got something to do with the young girl that was brutally killed here a few months back. John tells him that is terrible news. Coen stares into the distance, “yeah it was”. He then snaps back telling John, he best be going now, he sure seems like a busy man. John thanks him for the fuel.

John drives away from the gas station, and toward the town. He takes a look around, places that he had read up on. The house that Christopher’s brothers died in is one place he wants to see. It is about to go under renovation, but nothing has been done to it since the fire. He can’t find anything in town, so leaves at the end of the day. As he drives home he sees Coen walking to the bin with the shovel and a bag – understandably the snake in it. Coen looks up and sees him driving past, waving with a smile.

John stands before his church and delivers a powerful sermon. He largely talks about the toll of a guilty conscious – one he is sure many in the congregation have felt. He adds that a guilty conscious does not just ascertain to those that are the guilty party – but those that have a part to play in the solving of a mystery. One that may save and touch more than what had originally met the eye.

John once more drives into Alpine. As he is driving he notices, Coen standing outside the dilapidated Charles home, staring into the house. John parks his car and walks toward Coen. As he walks toward him he bumps into a young man (Robert Aramayo), who excuses himself. John helps the young man pick up a few flyers for the nearby church. John asks the young man if he's a man of faith. The man replies with a smile and shakes John's hand. He introduces himself as Sam, a local pastor. Sam then continues in telling John that he had seen him here the day before. He wonders what a man like John is doing in Alpine. John just tells him he is looking for something. Sam laughs saying there isn’t much to look for here, before bidding John farewell. John then looks toward the Charles’ house, seeing Coen has disappeared.

John returns home as he came up empty in Alpine. Birdy waits up for him and questions all these gasoline bills popping up on the bank statements. John tells Birdy that he has been helping a new upstart church out in Alpine, one run by a young man by the name of Sam. Birdy believes her husband, but just wishes he would spend some time at home with her. John tells her that once this church is set up and ready to go, he will be home a lot more.

John is in Alpine, he approaches the entry to the church, upon walking inside he looks for Sam, who is nowhere to be seen. After kneeling and praying, John leaves the church. As he is about to get into the car he is approached by a young woman, Daisy Rogers (Emma Myers). She tells John that she has seen him in Alpine quite a lot lately and asks why? He tells her that he just likes what he sees. She laughs, no one says that about Alpine – so why is he really here. He tells her that he is looking for a relative that he has not seen in a very long time. He tells her his name is Cole – his nephew. She tells him there was only one Cole here and he died in a house fire years ago. She says she can show him the house.

The two of them arrive at the Charles’ burnt-down house. Once more, Coen is standing out the front. Before Daisy can leave John asks her if she knows much about Coen. She begins listing off things that she knows about him; no family, no friends that she knows of, seems kind, nice eyes. She asks why, John says that he thought he knew him, but might not be the right person. He thanks Daisy. Daisy tells him that if he is ever in town again, to keep an eye out for her. He was fun to talk to.

Arriving home John walks into an intervention of sorts with Birdy and Warden McKerchar. McKerchar tries to get John to stop with this madness, Birdy has told him about the church in Alpine, but McKerchar knows what he is really doing. He is trying to find Christopher’s dead brother. John looks to Birdy as if to say why she told her father. She wanted to do what is right by him, she feels he is becoming obsessed over nothing, it has nothing to do with him. He grabs her by the hands, telling her it was a sign from god that he follow this and nothing more. McKerchar has John promise he will stop looking into it. Lying through his teeth John promises.

John stands before his congregation once more delivering another powerful sermon. Throughout his sermon he speaks on forgiveness. He repeatedly speaks about forgiveness beginning with a decision – one to let go of the desire for revenge. We see as he speaks his thoughts are running wild, thinking about Alpine. He continues his sermon telling those in his congregation to release the grip of anger and trust God with their pain. He changes his sermon’s direction now speaking on the pursuit of truth. Stating that in a world where voices are many, and confusion often reigns, seeking truth in the journey of life requires dedication. As he continues on his speech he feels something tick over in his head, a sign from God, a conviction that his search for truth about Cole Charles is far from over.

John arrives back in Alpine, meeting with Sam at his church. The two shake hands once more with Sam inviting him into “the house of God”. The two of them converse in various ways about the running of a good sermon, with a few of the things Sam says, John disagreeing with. Sam asks John if he would be so kind to observe Sam’s sermon and give some feedback. John says he would be more than happy too.

As John observes the sermon, he can’t help but notice the young man’s charisma, and the large, attentive congregation that he engages. He wonders how it is someone so young can encapsulate so many in the name of God. Impressed is an understatement. Jealous? Maybe. John notices Daisy as they are leaving the church and walks with her. The two discussing the recent murder of the young girl in town. John has his foot halfway in his car but asks Daisy if the two could meet to talk more about the girl they day after? Daisy says sure thing, giving him a location for the meet.

On his way home from Alpine, John stops in at the gas station, but Coen is not there. The new cashier tells John that Coen didn’t come into work today, the cashier furious at not being told. John feels uneasy about the no-show of Coen.

Pulling into his driveway, he is immediately met by McKerchar, who questions him on his persistence in going to Alpine for the church. John really does not want to hear it from his father-in-law right now. John tries to walk past McKerchar with McKerchar grabbing his wrist. John turns around and demands McKerchar take his hands off him. This heightens the tension with McKerchar now telling him that Birdy is worried sick, Birdy is worried that John is travelling to Alpine to get further from her, or worse yet he is cheating. John lets out a slight scoff at the word cheating, stating Birdy knows he is not that man, he would not commit such a sin. McKerchar just wants to know why he continues to pursue whatever is in Alpine. John says he is just pursuing the word of God before walking into his home.

John’s return to Alpine had him shocked from the moment he drives back into town, with John seeing Coen walking by. John immediately pulls the car over and walks over to Coen, under the guise of caring for his wellbeing, however really an act of suspicion. He asks Coen if everything is ok, and he missed him at the gas station the day prior. Coen sort of backs away but answers the question, he just didn’t want to be too close. Coen tells John that he went fishing on a retreat with his friends, from church, even offering John one of the fish he caught. He adds that he forgot to tell the gas station the days he was gone and that he was supposed to work. This revelation shocks John’s confidence in his suspicions. John apologizes to Coen for stopping him before moving onto find Daisy.

John continues on his way to meet with Daisy. As he drives he is pulled over by the small town sheriff, Paul Snowling (Tim Blake Nelson). Sherriff Snowling approaches John’s car and asks him to roll the car window down. Sherriff Snowling asks John what for his license and registration. Snowling asks John what has continued to bring him into Alpine, and, asks what his interests with Miss Daisy Rogers is. John states that he is in town as a pastor to give their young Pastor Sam some feedback. He adds that Ms Rogers has been helping him get his bearings while he is in the area nothing more. Snowling continues that some residents of the community have said that John being around has caused them great concerning with people seeing him out the front of the old Charles’ home a few days prior. John states that he saw a burnt down house and stopped to take a look, nothing more. Snowling hands the license and registration back, telling John that he will keep an eye out.

Daisy is waiting at the bus stop where she and John and were to meet, all of a sudden a black car drives passed her, stopping for a split second. A man gets out of the car and hits Daisy across the face (we do not see the man). The man drags Daisy into the car and drives off, as quick as he drove in.

John arrives at the bus stop. He searches all around, standing in the same spot and swinging his head around frantically searching for Daisy. He runs around searching the area, hoping to find any clues. Nothing. He grabs a passerby sending them into chaos too. The whole community seems to go into chaos. Feeling a deep sense of urgency, John sets out to find Daisy himself.

Daisy, tied to a chair, wakes up. Dazed, she looks around the room, finding nothing except for a table with various devices on it and one chair. The door opens, Daisy’s face turns from panic to fear and anger. Walking inside the room, with rope in hand is Pastor Sam. Sam grins, savoring the terror in her eyes. He proclaims that this is his favorite part of what he does - observing the terror and emotions Daisy is displaying. She tries to earn sympathy by describing everything she is yet to do in her life, everything she wants to do. Sam asks her if she really thinks that will work, he’s heard everything before. He then stops himself, realizing he is yet to introduce himself to his latest victim. He extends his hand, Cole Charles is the name. Daisy’s face drops even more but she stays strong, still trying to manipulate her way free. Cole tells her to shut the fuck up and grabs her by her face, holding it back, kissing her, as she tries to fight away. Cole then explains that usually his brother would be here to hold him back, but big he isn’t here anymore, “I can do whatever the fuck I want!” Cole grabs a knife and places it onto Daisy’s leg, pushing deeper and deeper, Daisy’s screams deafening.

John embarks on a desperate search around town for Daisy, praying and seeking signs from God. After searching all day, John finally reaches a decrepit shed on the outskirts of town as the sun is rapidly setting. Inside, John finds a makeshift altar with burned candles, scraps of bloody fabric, and what appears to be a diary. Flipping through the pages, he recognizes the handwriting from the church flyers handed out by Pastor Sam. 

John bashes down the door of the pastor's house, Cole is nowhere to be seen. John’s face turns to anguish as he sees a murdered Daisy, blood all over her body. As tears well up, John hears a noise from the next room, he storms in there, seeing Sam with blood all over him. “Sam” turns around and with a smile on his face tells John that the grace of God will shine on him again. Sam grabs a blade and presses it to his own neck, but John lunges, knocking him to the floor. The knife clatters away. John knows now that this man is no pastor, no man of God, this is none other than Cole Charles. John punches Cole repeatedly, his knuckles bloodied, as he wrestles with the weight of his fury and his faith. John prays while his hands are around Cole’s throat, whether he should get revenge for the murder of Daisy, or whether he should call the police. John eventually stops, Cole unconscious. John calls the police, feeling a deep conflict with man’s desires and guidance from God.

The community is relieved that both Charles brothers have been taken down by law. John, is left to grapple with the outcome of the arrest and his own sense of failure, being the man to put Daisy in that situation.

John arrives home, Birdy immediately hugging him apologizing, over and over for not believing him. McKerchar also stands opposite him, telling John he should have believed him. John doesn’t want to hear it. He walks straight past the both of them, instead, praying on it.

Months pass, and Cole is now on death row much like his brother was before him. Cole is stunned when he is visited for his last rites by none other than John, who takes a seat across from him. Cole expresses surprise. John simply comments that Cole asked for a man of God, so he came. Cole tries to ask John to forgive him for his sins, expressing remorse. John, firm in his faith and conviction, refuses to forgive Cole, stating that some actions are beyond human forgiveness. Cole asks John to pray for him. John declines to pray for Cole and closes his Bible, standing to leave. John leans in close, telling Cole that his redemption is between himself and God now, so he needs to pray for himself. He turns and walks out, leaving Cole in stunned silence.

John leaves the prison. Sun breaks through the clouds, bathing him in golden light. He lifts his face toward the sky. His should visibly relax as a heavy burden has been lifted. He whispers a prayer, thanking God for the strength to endure. He drives away from the prison, toward home.



Release: The Tick

 
The Tick
Genre: Comedy/Superhero/Animation
Director: Pierre Perifel
Writer: Lon Charles
Based on the character created for comics and television by Ben Edlund
Voice Cast: Rob Riggle, Michael Cera, Alison Pill, Jimmy Tatro, Vanessa Hudgens, Neil Patrick Harris, David Alan Grier, Johnny Knoxville






Budget: $70,000,000
Domestic Box Office: $84,013,993
Foreign Box Office: $82,882,099
Total Profit: $27,550,750

Reaction: Writer Lon Charles has another animated success on his hands - although not the big hits The Big Top and The Flintstones were.




"The Tick succeeds less as a narrative engine than as a sustained comedic worldview, one where logic bends, stakes deflate, and heroism is defined entirely by enthusiasm. Perifel and Charles lean into Ben Edlund’s original sensibility, though the film occasionally stretches its central gag beyond its structural limits. The story’s middle act meanders in ways that even intentional chaos can’t fully excuse. Still, the film’s commitment to character-based nonsense and its resistance to modern franchise cynicism give it a personality most animated superhero films lack." - Cooper Wilson, The Earl Hays Press


"I'll be honest, I forgot that The Tick was a thing for a moment. He never really struck me as someone who really 'needed' a film of his own, but for what it's worth, The Tick does its job and does it well. Rob Riggle and Neil Patrick Harris especially stand out for their delightfully hammy performances. If you're looking for something that, in theory, could harken back to those Saturday Morning cartoon days, The Tick is worth scratching your itches for." - Mitchell Parker, New York Times



"Pierre Perifel’s The Tick is a deliriously sincere throwback that understands the character’s essential joke: superhero bombast played with absolute conviction and zero self-awareness. Rob Riggle’s booming, proudly dim Tick is perfectly counterbalanced by Michael Cera’s anxious, quietly heroic Arthur, and the film smartly grounds its absurdity in character rather than pop-culture parody. The humor - rooted in repetition, anti-climax, and sheer commitment—lands more often than it misses. While the plot is intentionally ramshackle, the film’s warmth, clarity of tone, and refusal to apologize for its silliness make it one of the more purely joyful animated superhero entries in years." - Dave Manning, Ridgefield Press









Rated PG for comic action violence and some mild rude humor





Wednesday, February 4, 2026

TV to Film: The Tick

 

Welcome to TV to Film! While The Tick is also based on the comic series, we're going to take a look at the characters from the 1990s Saturday Morning Cartoon of the same name. The film is directed by Pierre Perifel (The Bad Guys) and written by Lon Charles (Escape, Splendour).












Now Showing: The Tick

 
The Tick
Genre: Comedy/Superhero/Animation
Director: Pierre Perifel
Writer: Lon Charles
Based on the character created for comics and television by Ben Edlund
Voice Cast: Rob Riggle, Michael Cera, Alison Pill, Jimmy Tatro, Vanessa Hudgens, Neil Patrick Harris, David Alan Grier, Johnny Knoxville

Plot: The Tick (Rob Riggle), clad in a hospital gown over his classic blue costume, kicks open the heavy doors of his cell in a mental institution on the outskirts of The City. Security chases after him, but The Tick is already narrating his dramatic escape to an audience of none. "And so, like the storm itself, I rise! Unbound! Unstoppable!" The Tick pauses mid-sprint to scratch his head. "Why am I here again? Ah, hero stuff!" He launches forward, crashing the last wall of the hospital. He looks out at the skyline of The City in the distance and begins marching toward the lights on the horizon.

In a bland office, Arthur Everest (Michael Cera) sits hunched at his desk, crunching numbers as an accountant. He adjusts his collar nervously, revealing the corner of his moth costume peeking out. Arthur is called to his boss's office, where he is fired for wearing a superhero costume under his work attire. Arthur tries to plead his case, arguing that moth-themed attire is technically not a dress code violation, but his boss isn't willing to listen. Arthur walks out of the building with a box of his belongings.

Meanwhile in The City, a low, earth-rumbling roar silences the hustle and bustle of the city. A massive, scaly dinosaur, lumbers through the city streets. "Fear not, citizens! The Caped Wonder is here!" The City's famed superhero, the Caped Wonder (Johnny Knoxville) flies heroically through the city toward the chaos. He lands with theatrical flourish. His eyes land on The Tick, who has cluelessly wandered into the scene. The Caped Wonder orders The Tick to stand down or face his righteous fury. The Tick stares at The Caped Wonder in confusion. The dinosaur lets out a roar and lunges forward. With one quick gulp, The Caped Wonder vanishes into the dinosaur's mouth with one big gulp. The Tick squints at the dinosaur. Calling him by the name Neil, The Tick tells the dinosaur to spit up the superhero. Neil roars in The Tick's face. The Tick grabs Neil by the tail, slamming him into the ground. Neil retreats, leaving The Tick standing victorious on the streets of The City. 

Among the stunned crowd of onlookers is Arthur alongside his disinterested sister Dot (Alison Pill). Dot turns to leave, telling Arthur to make sure he doesn't forget their mother's birthday. Just as Arthur is about to leave himself, The Tick's hand clamps down on his shoulder, accidentally ripping away at his suit, revealing his moth costume. The Tick comments that Arthur has the look of a sidekick and asks if he ever considered a career in the service industry... serving justice, that is.

In his dimly lit lair adorned with eccentric and priceless treasures, Chairface Chippendale (Neil Patrick Harris) - a villain born with a wooden chair for a head - watches footage of The Tick's heroics on a large screen. Chairface is intrigued by The City's newest hero - and pleased by the demise of the Caped Wonder.

The Tick and Arthur have lunch at a local diner. The Tick doesn't touch his meal. Arthur nervously asks what they should talk about, suggesting the subject of strategy. The Tick becomes wide-eyed excitement. Arthur  asks about The Tick's origin story. The Tick scratches his head and tells Arthur that he doesn't really have any origin he can remember. He just woke up one day knowing one thing - that he must protect The City with every ounce of his super-powered being. Arthur asks if he really can't remember anything before today. The Tick earnestly proclaims, "Not one thing!" 

After their conversation at the diner, Arthur and The Tick walk down the streets of The City. The Tick begins asking about Arthur's secret base, commenting that he's between one right now. They arrive at Arthur's modest apartment. The Tick's towering frame barely fits through the front door. The shelves in the apartment are crammed with comic books and the table is covered with half-finished blueprints or moth-themed gadgets. The Tick points to an empty corner and announces that he'll set up camp there. Arthur tries to explain that his apartment isn't a secret base - it's where he lives - but The Tick begins making right at home. Arthur gives in and allows The Tick to stay with him but pleads with him to not break anything or talk to the neighbors.

Arthur wanders the streets of The City, trying to make sense of the chaos he's been pulled into. He turns a corner and finds The Tick waiting atop a fire hydrant, dramatically posed as if he’s been expecting him all along. The Tick declares that destiny clearly intends for them to be a team. Arthur tries to deny it, insisting he’s not a sidekick, but The Tick is unfazed. He gestures to Arthur’s moth-themed suit and says it’s proof enough. With no room for protest, The Tick starts marching toward a nearby diner, announcing that justice runs best on a full stomach.

Inside a quiet, old-school diner, Arthur sips coffee while The Tick flips through a laminated menu like it’s a sacred text. They sit awkwardly in a booth, The Tick barely fitting. Arthur asks where The Tick came from. The Tick admits he has no idea. He remembers waffles. He remembers justice. Beyond that, it’s all blank. Arthur asks if he at least remembers his real name. The Tick shakes his head—he only knows what matters: the urge to fight evil and the fact that he feels amazing in his suit. The Tick hammers the table and loudly orders “two of your strongest breakfasts—justice-style!” Arthur just quietly asks for more coffee.

Their meal is interrupted by the sounds of a loud explosion down the street. Without hesitation, The Tick leaps into action, urging Arthur to follow. Arthur hesitates but runs in after him. Suddenly, another hero arrives - Die Fledermaus (Jimmy Tatro), who makes a flashy entrance and loudly proclaims his superiority. Arthur isn’t impressed. Moments later, American Maid (Vanessa Hudgens) charges into the fray with precision and focus, taking down several henchmen with swift strikes. The Tick joyfully tosses goons like beach balls. Die Fledermaus mostly lurks in the background, offering sarcastic commentary and keeping his distance from actual combat. American Maid handles business quickly and cleanly. Arthur takes cover behind a vendor cart. One henchman charges him, and Arthur panics, but manages to knock him out with a broom handle. He’s shocked he pulled it off. 

After the last henchman flees, a giant screen flickers on overhead. Chairface Chippendale appears. He praises the heroes for delaying his plans but warns them that the true spectacle is coming: he intends to carve his name into the Moon. Everyone stares in disbelief. The Tick stares at the sky with confusion and declares the Moon “too pure” for graffiti. Arthur points out the absurdity, but American Maid notes Chairface has the money and tech to try something this big. Die Fledermaus groans and asks if they really have to stop him. The Tick nods solemnly and says evil never rests - and neither does justice.Arthur says they just had lunch. The Tick declares they need a second lunch as justice requires protein.

The heroes gather in the dimly lit City Hall, where Mayor Blank (David Alan Grier) addresses them with dramatic overtones and misplaced metaphors. He congratulates them for not completely failing. American Maid tries to focus the group. She suspects Chairface’s lunar weapon is being powered by stolen tech from the city's science museum and hints at someone inside City Hall helping him. Die Fledermaus is more interested in whether this mission will get media coverage. Arthur, visibly overwhelmed, points out that he’s not trained for any of this. The Tick, however, paces like a general preparing for war. He slams a fist into his open palm and declares they must "unchain the Moon from the clutches of facial furniture!"

That night, the team infiltrates the museum. Arthur hacks the security system using a laminated employee handbook. American Maid disables the patrols with grace and tactical precision. Die Fledermaus fakes a limp to avoid helping, while The Tick loudly declares each hallway cleared after stomping through it. In the main hall, they discover a makeshift launch device cobbled together with parts from city-funded projects. Evidence points clearly to Chairface - blueprints, his monogrammed gloves, and even a discarded headshot. Suddenly, a trap springs. Chairface appears via hologram, gloating that they’ve arrived just in time to fail. The exhibit room locks down with steel panels. Lasers activate. American Maid dives into action while The Tick uses his body to shield Arthur, absorbing multiple blasts with no real concern. Once the lasers shut off, The Tick brushes off the singed spots on his suit. 

As the heroes regroup outside, sirens wail. A crowd has gathered. Descending from the sky with fanfare and a full brass intro is The Caped Wonder - somehow alive. He lands with authority, holding a press conference on the spot. He explains—very seriously—that he survived being eaten thanks to his emergency quantum-phase belt, which ejected him at the “last molecular moment.” Reporters nod like this makes perfect sense. As he begins to announce a new "Justice Initiative"... Neil the dinosaur, half-sedated and cranky, emerges from a nearby alley. Neil tail-slaps him into a billboard advertising Caped Water™, his bottled water brand. The billboard collapses. 

On a nearby rooftop, Arthur, The Tick, American Maid, and Die Fledermaus regroup. Arthur stares at the Moon. The beginnings of a giant “C” are burned into its surface. He quietly admits he’s starting to feel like he belongs in this world. The Tick puts a massive arm around his shoulders and tells him that identity doesn’t come from memory - it comes from purpose. Arthur half-smiles. 

Elsewhere, Chairface Chippendale puts the finishing touches on his Moon-laser array. The “C” is nearly complete. Tomorrow night, he’ll broadcast to the world as he engraves “H” and then “A” into the lunar surface. Chairface's pet Man-Eating Cow munches on office plants in the corner, grunting. 

Tick, Arthur, and American Maid cram into Arthur’s cramped apartment. Tick is too large for the couch and knocks over half the kitchenette. He calls the place cozy but riddled with justice potential. Arthur has laid out a plan: sneak in through Chairface’s supply depot, bypass his perimeter alarms, and disable the weapon from the inside. American Maid adds that she’s recruited help. Die Fledermaus arrives wearing an unnecessary stealth suit and holding a latte. He offers zero tactical advice but insists he’ll be in all the photos. Tick volunteers to be the decoy, boasting that laser blasts tickle like compliments from a cactus.

That night, the team makes their move. Arthur and American Maid climb a maintenance duct while Die Fledermaus “covers the rear” - really just loitering near the getaway van, practicing hero poses. Tick charges the front gate. Alarms blare. Laser turrets activate. Guards in high-tech armor engage him. Inside, Arthur hacks through the control systems while American Maid disables the energy cores. They find Chairface’s control chamber empty. A prerecorded hologram appears. Chairface grins, announcing that this was all a trap… to lure them away from his real target. He’s not just branding the Moon. He’s going to carve CHAIRFACE across the entire sky - using orbital satellites. Outside, while trying to get the radio to pick up the oldies station, Die Fledermaus accidentally upon a satellite feed from Chairface’s real location: an abandoned observatory high above The City. Chairface has been operating from there, using the tower as a decoy. Die Fledermaus panics and tries to radio the team. No one answers. He shrugs, takes a selfie, and runs. Meanwhile, Arthur realizes the trap too late. Chairface triggers a collapse of the facility they’re in, forcing a desperate escape. The Tick bursts through flaming wreckage, carrying his teammates on his back. As they run, Arthur points to the sky. The Moon now reads “CHA.”

The Tick, Arthur, American Maid, and Die Fledermaus pile into an emergency-response hovervan “borrowed” from City Hall. Dot reluctantly joins as their driver after Tick begs her with a strangely poetic monologue about destiny, sandwiches, and moonlight. Dot, unblinking, says she doesn’t care about the Moon, but she’d prefer it didn’t say “Chairface.” She hits the gas. The hovervan roars. Arthur, holding the laser schematics, reveals the observatory's exact location. 

Chairface adjusts the trajectory of the beam as the laser finishes the "I" in his name. Just then, the observatory roof explodes. The Tick crashes through on a zipline - "It's justice o'clock!" Chairface hurls a switchblade-tipped cane. The Tick eats it. Literally. Says it tastes like cowardice. Outside, American Maid disables the antenna array while Die Fledermaus distracts guards by pretending to be an elite ninja. Dot provides sniper support with tranquilizer darts, mostly hitting the floor. She remains eerily calm about it. While Tick faces Chairface, Arthur slips into the control room and tries to override the laser feed. A countdown blinks on the screen indicating the completion of the next letter in Chairface's name. Arthur taps into his old accounting mindset. He treats the system like a bloated spreadsheet: find redundancies, eliminate loopholes, redirect input values. He manages to redirect the satellite signal... directly back at the observatory. Chairface deploys a final weapon: a mechanical exosuit shaped like a giant golden top hat, with monocle lasers and extendable mustache whips. Chairface and Tick clash. Tick is thrown through a wall of planetary charts, gets up, and throws Chairface into a gyroscope. Tick climbs the scaffolding and leaps, punching the satellite feed cable just as Arthur reroutes the beam. The redirected laser fires skyward—then turns - slamming down into the observatory’s satellite dish. When the light fades, the Moon now reads: "CHAAAAAAaaa...." Chairface is buried in debris, his mustache limp and sparking. Man-Eating Cow wanders over and sits on him.

In the aftermath, Mayor Blank declares a city-wide holiday: Tick Day. The mayor tries to take credit, but reporters focus on the heroes. American Maid turns down a Senate run. Die Fledermaus tries to sell a memoir but no one wants it. Dot goes back to work like nothing happened. Arthur is offered his accounting job back... but declines. He’s found purpose in chaos.

Back in Arthur’s apartment, Arthur makes coffee and eats toast. Tick bursts in with a new mission: a suspicious goose is causing problems in Midtown! Arthur sighs and asks if he can finish his toast. The Tick pauses, deep in thought. He declares that while justice waits for no man... or goose... it can wait for something as important as toast! They leap off the balcony, Arthur reluctantly following.



Tuesday, February 3, 2026

In Development

 
Man of God: Emma Myers (A Minecraft Movie, "A Good Girl's Guide to Murder"), Billy Howle (Infinite Storm, Kid Snow), and Tim Blake Nelson (Sins of the Father, Klondike) are set to round out the cast of the crime thriller Man of God starring Josh Brolin. Myers will play a young woman who fits a killer's target type, Howle will play a suspicious small town worker, while Nelson will play a sheriff. James Mangold is directing from a script by John Malone and Sammy-Jo Ellis.

Spelljammer: Zack Snyder's D & D movie Spelljammer has completed its casting with the additions of William H. Macy (Desert Dreams, The Hulk 2), Naomi Scott (Mirror's Curse, Eye of the Scarecrow), and Gal Gadot (Y: The Last Man, Happy Nuke Year). Macy's role will be a voice-over role, while Scott and Gadot will appear as a wizard and ranger, respectively. Dawson Edwards penned the script based on the Dungeons and Dragons campaign setting of the same name.

The Letter Never Sent: Scarlett Johansson (Creature from the Black Lagoon, Jurassic World Rebirth) is set to star in the romantic drama The Letter Never Sent. She will play a married woman who uncovers a letter from a former lover, rekindling old feelings. Rupert Friend (Fading Nights, Becoming Carole Lombard) has been cast as her husband, while Jonathan Bailey (The Thin Man, The Pull of the Stars) will play the letter's author. John Crowley (We Live in Time, Brooklyn) is set to direct from a script by Andrew Doster (The Eye of History, Rise Again).

Discovery: Julia Roberts (Wonder Woman: Labyrinth, Malik) and Tom Holland (The Brothers Kendrick, Odysseus - Part Two) will headline Discovery, a sci-fi thriller about the discovery of a device that can allow mind-to-mind communication and the ethical dilemmas that ensue with a group of scientists. Roberts will play the leader of a neuroscience lab who must decide if they will publicly reveal the device, while Holland will play a graduate student at the lab. Damien Chazelle (Spider-Man: Requiem, Oklahoma!) has been hired to direct, while the script was penned by Jimmy Ellis (Convalescence, Cleveland) and Chad Taylor (Starlight, The House Down the Street).

Blood and Glory: Dave Bautista (Batman: Knightfall, Man Made Machine) and Cosmo Jarvis (Tarzan, Kill Zone) are set to star in Blood and Glory, a bloody historical epic set to depict the war between Persia's King Darius III and Macedonia's Alexander the Great in 331 BC. Bautista will play Darius while Jarvis will play Alexander. Jamie Campbell Bower (Norse: Valhalla, X-Men: Hellfire) and Sam Spruell (H is for Hawk, The Hanging Sun) have also signed onto the project as Hephaestion and Parmenion, respectively. Tarsem Singh (Constantine: The Hellblazer, Paradise Lost) is set to direct from a script by Jack Brown (The Crow: Yomi, We Still Know Where You Live).

Running from the Spotlight: Disney teen stars Kylie Cantrall (Descendants: The Rise of Red, "High School Musical: The Musical: The Series") and Malia Baker (Hair of the Bear, Descendants: The Rise of Red) will star in Running from the Spotlight from director Michael Fimognari (Jingle Bell Heist, To All the Boys: Always and Forever) and writer Jacob Jones (The Guns of Peridido, Danya). The film is about a high school theater star (Cantrall) who loses out on a lead role to a new performer (Baker), causing her to spiral downward.

PREMIERE MAGAZINE #342

 

Monday, February 2, 2026

The Roundup with Jeff Stockton (Season 35 Round 2)

 

Moving on to Round 2. Here's The Roundup....


3. Zorro
Welcome to LRF, Johnny Mercer. His debut Zorro was solid, although maybe a bit dry at times. With its box office performance, I am interested to see a potential sequel.

2. Thus Dreamed Zarathustra
As usual Meirad Tako delivered something very unexpected in every possible way - both good and bad (mostly good).

1. The Punisher: Purgatory
I think Dwight Gallo's Punisher series might just be my favorite LRF Marvel franchise. It feels like its own violent, gritty thing and its all perfectly cast.

3. Profits
While there have been a few solid earners so far, no major blockbusters. It might be another season where the studio profits are made or broken by a couple late season hits/flops.

2. Thus Dreamed Zarathustra
I didn't dislike the film, but I do think it was marketed wrong as a Drama / Biopic. 

1. Diego Luna
I've never understood the appeal of Diego Luna. He seems small and lack the charisma I expected from the new Zorro. He wasn't terrible, but he didn't click for me.