In an age of preordained marketing and spoilers, an ode to an age of not knowing and the thrill of unexpected discovery.

As another annual San Diego Comic Con ends with another week full of preordained previews, announcements, and sizzle reels, this seems as good a time as any to talk about something that has been lost in the saturation-level media coverage that surrounds each and every remotely major studio release these days.  I am talking of course about the element of surprise.  I'm not talking about plot spoilers regarding upcoming films, or even the obsessive need for news outlets to report on every plot detail of an upcoming film so that one has to literally live in a cave to avoid knowing too much.  Those are indeed issues, but I'm talking about something even more basic.  I'm talking about the idea of discovering the very existence of a film the old fashioned way.  Be it through a trailer that you didn't expect, or a poster that you didn't see coming, something very precious has been lost over the last fifteen years as the mainstream entertainment press has turned into a full-time, year-round Comic-Con.  We don't discover films we were hoping we might see via actual pre-movie trailers, or even through movie magazines like Premiere or Starlog.  Now they are preordained, with their posters and trailers given online *premieres* that are treated as actual news by film sites the world over.  Maybe it's the cranky old man in me talking, but there is something very special about discovering these films at the theater.  Which brings me to the question: When was the last time I was truly surprised by a piece of film marketing?  

Lionsgate picks Francis Lawrence to helm Hunger Games sequel Catching Fire: When a 'safe', 'cheap' choice is also a good choice.

If you discount his last-minute attempt to salvage Jonah Hex, Francis Lawrence has made three films since 2005 and I have liked all three of them.  As such, while he is not a particularly brave/bold, or outside-the-box choice for Lionsgate to hire to helm the next Hunger Games sequel, Catching Fire, he is a good one.  All three of his films show an emphasis of character and substance over visual razzle-dazzle, and his sure-footed and confident eye will be a relief after sitting through Ross's shakey-cam hysterics.  While I was hoping Lionsgate would pick someone a bit off the beaten path (one of the female directors I mentioned, perhaps?), Francis is a solid choice.  In short, he makes good movies, casts good people in them, and delivers quality mainstream material that entertains without insulting their respective audiences.