A film review by Craig J. Koban July 18, 2012
COMIC-CON: EPISODE IV - A FAN'S HOPE
2012, PG-13, 88 mins.
2012, PG-13, 88 mins.
A documentary directed by Morgan Spurlock
It’s amazing to consider just how big the annual San Diego Comic-Con has become, especially if you consider its very humble beginnings.
It was founded
way back in 1970 by Shel Dorf, Richard Alf, Ken Krueger, and Mike Towry,
all fellow citizens of San Diego that then dubbed it "The Golden State
Comic Book Convention". There
were reportedly just 500 comic book aficionados that attended the first
convention 40-plus years ago; the event now has become a pop culture
phenomenon. It’s the
largest convention in North America and the fourth largest in the world,
with yearly attendance hovers in the hundreds of thousands.
The convention still has comics, but it now caters to nearly every
form of mass marketed entertainment, movies and video games included.
In short, Comic-Con is a major, major deal for both geeks and
humorously titled COMIC-CON: EPISODE IV – A FAN’S HOPE is a very
breezy, likable, somewhat compelling, and generally entertaining look at
just how gigantic and popular this convention has become for San Diegans
and the comics, game, and film obsessed public around the globe. Sporting a reported film crew in the hundreds, the
documentary tracks the comings and goings of the five-day event by
immersing you in all of its minutia, but it also takes an intimate look at a
few specific attendees as they travel from far and wide across the country
to descend on what they consider their fanboy nirvana, or nerd-vana.
The film is not a critical expose of crazed convention etiquette or
the borderline fanatical extremes that some fans go to make this
convention their home; instead, COMIC-CON is a celebration of the unique
mindset and culture of its people – young and old – and how they all
manage to share the common thread of being alike through their similar
the film doesn’t show candid and vividly enthusiastic first-person
testimonials from Comic-Con veterans like Stan Lee, Frank Miller, Matt
Groening, Joss Whedon, Kevin Smith, Eli Roth, and Seth Rogen (to name a
few of the many), COMIC-CON hones its focus on specific people that all
consider the con as the most significant event of the calendar year.
There are a couple of comic book artist wannabes, Eric and Skip,
who hope to network, meet professionals, get their portfolios critiqued
and – fingers crossed – land illustration jobs in the field while at
the con. Then there is Holly,
a sassy go-getter who specializes in costume and creature design that
hopes that her creations will get her noticed at the con.
There’s also a sweet section of the film dealing with James and his
girlfriend – the couple met at a previous con – that highlights
his quest to publicly propose to her during a Q and A panel featuring
Kevin Smith. Lastly,
there’s Chuck, a long-time comics dealer that has arguably one of the
largest inventories on the planet (several million) that hopes to use the
convention to score some big sales and pay off his debt.
all the threads in the documentary, I found myself clinging to Chuck the
most. He has become somewhat
disgruntled about Comic-Con in general, seeing as it has become
somewhat perverted; in his mind, the simple pleasures of comic book
selling and collecting has been thrown to the background by the presence
of larger corporations that have essentially hijacked the con and
morphed it into something it originally was not.
He has seen some hard times, as the recent economic woes have stung
the comic book dealer in ways not seen before.
With mounting profit losses and debts to pay, Chuck hopes to sell a
very rare comic book (one of the rarest on the planet) at the convention for
half a million dollars (he has two security men transport it to the con,
one handcuffed to it while housed in a metal briefcase). You see in Chuck’s eyes a man that does not want to part
with something so very dear to him, but feels compelled to for business
to Chuck’s thread, I enjoyed the tale of Holly and her crew meticulously
re-creating costumes and characters from the popular game Mass Effect for
a judged event at the con that Holly hopes will get Hollywood to
notice. She and her loyal and
hard working crew take their hobby and interest to all sorts of extreme
attention to detail (they even faithfully recreate an alien creature from
the game, complete with animatronic facial expressions). It’s pretty amazing what these young people create in their
hometown garage with nothing but will and a whole lot of ingenuity. And, yes, you just have to kind of appreciate the
intrepidness of young James, who not only gets his hopeful fiancée a LORD
OF THE RINGS-inspired engagement ring without her knowing at the con
(she’s extremely needy and clingy and won’t leave the man alone),
but also has to prepare and elaborate and very public proposal while at
the mic at the Kevin Smith panel.
thread involving the two comic artists striving for glory is the least
inspired of the film, mostly because it predictably boils down to one
achieving success and the other failure.
COMIC-CON also seems to not have much to say about the madcap
obsessive mindedness of grown men that will literally run over just about
anyone in the way to get to a 20’’ Galactus replica action figure.
There’s also not much in the way of thoughtful commentary
regarding basic concerns over convention attendance itself; in recent
years turnout has ballooned to the point of it being a legitimate health
and safety concern (lines of thousands cramped into tiny spaces are shown
throughout the film). The
larger issue of how comics in all of their purity have been completely
overshadowed and marginalized by the presence of Hollywood studios - that
use their millions to buy their way in and pedal their products to the
ravenous horde that awaits - is only hastily investigated in the film.
You feel, for example, Chuck’s dissatisfaction with this
happening, but the doc does not explore it much further than that.
In a way, the con has forgotten about the "little guy" that
helped start it.
was directed by Morgan Spurlock, who has made three previous docs that I
have not liked at all, SUPER SIZE ME,
WHERE IN THE WORLD
IS OSAMA BIN LADDEN?, and THE
GREATEST MOVIE EVER SOLD, largely because they stated the
painfully obvious about their subjects and did not teach viewers anything
they didn't know before seeing them.
In COMIC-CON Spurlock does two things that work well in his favor
this go-around: (1) He completely removes himself as a distracting,
camera-mugging presence altogether and just allows his camera to focus on
the convention as a silent observer and (2) he refreshingly
does not try to sermonize a self-congratulatory agenda here.
Seeing his name on the credits I was expecting Spurlock to scathingly mock the geek culture of the con devotee, but instead he completely reins himself in and just treats the event with a straightforward and earnest appreciation. He captures the con’s infectious energy, the high level of jovial excitement experienced by those there, and, more importantly, what it means for attendees from all walks of life to feel like they’re accepted when people outside of the event have different ideas. COMIC-CON is not a documentary of grand ideas or soul-searching analysis of why this event has become so unfathomably huge in recent memory; instead, it pays homage to the Comic-Con spirit by making you feel like you are there among the other hundreds of thousands. For the five days during which the con takes over San Diego, the geeks there do in fact inherent and rule over the earth...and that’s not a bad thing