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    Cold in July Sizzler

    Sundance shoot 'em up: Dexter and Miami Vice stars have a blast in new Texas thriller

    Clifford Pugh
    Jan 25, 2014 | 9:58 am

    PARK CITY, Utah — After eight seasons of playing a likable serial killer in Dexter, Michael C. Hall knew it was time to do something different. So when he was approached to portray the owner of a picture framing store in a small town Texas whose life gets turned upside down when an intruder breaks into his house in the film, Cold in July, he jumped at the opportunity.

    "I liked that my character wasn't inherently remarkable, yet all these amazing things were happening around him," Hall told a recent standing-room-only audience at a screening at the Sundance Film Festival. "Dexter was winding down at the time and I really wanted to play a guy who only 'accidentally' kills people."

    "Dexter was winding down at the time and I really wanted to play a guy who only 'accidentally' kills people."

    Based on a novel by Texas writer Joe R. Lansdale, Cold in July is a rock 'em, sock 'em pulp fiction thriller that starts like a house afire — the first 30 minutes will have you on the edge of your seat — before morphing into a buddy comedy with a dark twist and a bloody ending.

    Life is pretty routine in an East Texas town until Richard Dane (Hall) shoots and kills a masked man in his living room in the middle of the night. Turns out the burglar is a convicted felon whose father (Sam Shepard) just got released from Huntsville prison and is out for revenge.

    I don't want to reveal much more about the movie, which will be screened at Sundance Cinemas in Houston Thursday night at the Sundance Festival USA, because it's much more satisfying to have no idea what happens next. The movie takes a lot of interesting and sometimes implausible twists before its violent conclusion. (It's been purchased by IFC Films for release later this year, so the Houston screening is a rare opportunity to get a sneak peek. Director Jim Mickle be in Houston to answer questions from the audience after the film — a Sundance Festival tradition.)

    After the screening in Utah, the audience had a lot of questions for Mickle, Hall, Don Johnson (who practically steals the movie as a wily Houston investigator who drives a red Cadillac with fuzzy dice on the rear view mirror), and author Lansdale, the only one on stage with an authentic Texas accent. Lansdale lives in Nacogdoches and is writer-in-residence at Stephen F. Austin State University.

    When I heard they were shooting in New York I said, "OOOOHHELL!," Lansdale said.

    It took Mickle and co-screenwriter Nick Damici, who plays a shady sheriff in the movie, eight years to adapt Lansdale's book and get it on screen. Though it's set in east Texas in the 1980s, the movie was filmed in upstate New York with tax incentives.

    "When I heard they were shooting in New York I said, "OOOOH HELL!," Lansdale said. "Then (Mickle) sent two photographs, one of upstate New York and one of east Texas and I couldn't tell the difference except they had a mountain up there but we didn't shoot the mountain."

    The movie is chock full of 1980s technology and appliances — a cellphone the size of a brick gets a lot of laughs. "They came over to my house and found it all," joked Johnson who was one of the biggest stars of the decade in the hit '80s television series, Miami Vice.

    "We had a great art department," Mickle added. "They even made some stuff with photographs on contact paper just applied to wood."

    And Hall's hair is a modified mullet — the ultimate '80s hairstyle.

    Asked how he learned to portray a Texas character, Johnson said, "I went out with a lot of Texas girls," as the audience erupted in laughter. "My daughter Dakota was born in Austin," he added. (Dakota Johnson has snared the lead in the movie version of Fifty Shades of Grey, currently being filmed in Canada.)

    "I was born in North Carolina . . . not exactly Texas," Hall said. "I watched lots of films set in Texas and drew from those and Joe was on the set to help. I also got inspiration from that mullet hairstyle I was sporting."

    ------

    The Sundance Festival USA screening of Cold in July is Thursday (Jan. 30) at 7:15 p.m. CultureMap editor-in-chief Clifford Pugh will moderate a Q&A between director Jim Mickle and the audience. Click here to purchase tickets.

    A man with a mullet (and a gun): Michael C. Hall stars in Cold in July.

    Michael C. Hall in Cold in July Sundance Film Festival
    Photo by Ryan Samul Courtesy of Sundance Institute
    A man with a mullet (and a gun): Michael C. Hall stars in Cold in July.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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