A free seminar with three indie filmmakers: This weekend at WorldFest/Houston. (I did say free, didn't I?)

To kick off the opening weekend of the 2019 WorldFest/Houston International Film Festival, fest ramrod J. Hunter Todd has slated a free seminar showcasing three directors — Steve De Jarnatt, Kevin Sorbo and Richard Krevolin — who have movies on tap during this year’s H-Town cinematic smorgasbord. The event is scheduled for 2 pm Saturday, April 6, in the Water Fall “024” Lounge of The Westin Memorial City Hotel. And because a man’s got to do what a man’s got to do, I’ll be hosting conversation, and encouraging questions from the audience.

De Jarnatt will be at WorldFest 2019 for the 30^th anniversary screening of his cult-fave thriller Miracle Mile. (You can read more about that here.) Popular film and TV actor Sorbo (God’s Not Dead, Hercules: The Legendary Journeys) is director and star of Miracle in East Texas (pictured above), one of the dozens of features in the festival lineup, while Krevolin is director and co-scripter of Attachments, which will have its world premiere at WorldFest 2019.

So what is Attachments all about? According to the official WorldFest synopsis:

One millennial I.T. nerd plus one computer illiterate senior citizen equals one unlikely attachment. Attachments stars Academy Award nominated actress Katharine Ross (The Graduate, Butch Cassidy and The Sundance Kid, Donnie Darko) as Eileen Roth, a widow who needs to learn how to use a computer in order to communicate with her beloved granddaughter in China. As a result, she ends up reaching out to a young, socially awkward I.T. professional. It’s a warm, funny love story about two alienated and lonely people who change each other’s lives. Control. Alt. Cute meet.

And Miracle in East Texas?

Inspired by a true story, “Doc” Boyd (Kevin Sorbo) and “Dad” Everett (John Ratzenberger) are Bible-quoting con-men in the 1930’s. After being run out of Oklahoma, they set up their oil-rig scam in Texas, seducing wealthy widows and the members of the only black church in the county. But just as their plan comes to fruition, everything suddenly goes awry, and they are faced with the most important decision of their lives. Funny, engaging and uplifting, this is the incredible story of two men discovering the good buried within themselves.

All WorldFest 2019 films will be shown at the Memorial City Cinemark Theater. Complete info about plotlines and showtimes is available at the festival’s website. 

30 Years Later: Miracle Mile returns to WorldFest/Houston -- And director Steve De Jarnatt will be on hand for a Q&A with yours truly

Great news: Miracle Mile, writer-director Steve De Jarnatt's classic 1989 thriller, will return this weekend to the WorldFest/Houston International Film Festival, for 9 pm Saturday screening at the Cinemark Memorial City Theater here in H-Town. But wait, there's more: It's my great pleasure and privilege to announce that I'll be serving as host (or facilitator, or whatever the hell they call it) for an on-stage Q&A with De Jarnatt after the screening. I am especially geeked about the occasion because, back in 1989, while I was film critic for The Houston Post, I introduced De Jarnatt's devastating thriller as my critic's choice at WorldFest/Houston, where it wound up rocking the house and winning best of fest honors. 

A few weeks later, during a Cannes Film Festival reception, I was told by one of the muckety-mucks at Hemdale -- the outfit that had originally bankrolled the film -- that because of the enthusiastic response at the H-Town fest, his company was giving Miracle Mile a wider theatrical release than originally planned. He also said my rave review -- blurbed in all the original advertising and, later, on the homevideo packaging -- was another factor considered when the Hemdale brass made their decision. 

Maybe he was telling me the truth, maybe he was stoking my ego. But consider: De Jarnatt thanked me in a 2015 Facebook post for being an early supporter of his film shortly before I conducted a post-screening Q&A with him in Austin. So I can only assume that I played some role, however small, in getting Miracle Mile out into the world. And that makes me very happy.

So what's it all about? As I wrote in my 1989 review:

Miracle Mile is an audacious doomsday thriller with a 20-megaton impact. Deceptively simple and relentlessly gripping, it represents American independent moviemaking at its most exciting and accessible for mainstream audiences. Be prepared to be blown through the back of the theater...

Anthony Edwards (Revenge of the Nerds) and Mare Winningham (St. Elmo’s Fire) are the lead players, and they are exceptionally well-cast. Edwards is excellent as Harry, a soft-spoken, sweet-natured would-be jazz musician who moves to Los Angeles in search of a musical career and, perhaps, romance. Like most newcomers to Los Angeles, he checks out the sights on the Miracle Mile, the long stretch of Wilshire Boulevard that runs from the towering skyscrapers of Century City to the edge of the La Brea Tar Pits. On a museum tour near the pits, Harry meets Julie (Winningham), a lovely waitress who just happens to be fond of jazz. Love blooms, instantly.

Unfortunately, Harry oversleeps, and arrives at the diner where Julie works three hours late for their midnight date. He tries to call her from a pay phone, but she doesn’t respond -- she has taken a sleeping pill, turned on her answering machine, and dozed off. Harry is depressed. Worse, he doesn’t know exactly where Julie lives, so he can’t drop by to apologize.

Then the pay phone rings, and Harry picks up the receiver. On the other end is an anxious young man calling from a missile base somewhere in North Dakota. It’s a wrong number -- the caller was trying to reach his father in another area code, to warn him that World War III is about to begin, that nuclear missiles will likely hit Los Angeles in 70 minutes.

Harry thinks the caller is a practical joker. But then he hears gunshots. And then he hears a stern voice on the line, warning him to “forget everything you’ve just heard, and go back to sleep.” 

This is not a dream. This is not a test. This is an actual alert.

And that is all the detailed plot synopsis you will get from me. Suffice it to say that Harry moves heaven and earth to get to Julie, so she can join him for a last-chance flight to safety. Naturally, several obstacles, and not a few people, get in his way. And even when the lovers are reunited, they have to contend with the panicky mobs who have been tipped off about the approaching apocalypse.

Writer-director Steve De Jarnatt draws you slowly, steadily into his frightfully plausible plot before he yanks you by the lapels and drags you onto a high-velocity roller coaster. Better still, even while he skillfully, even mercilessly, escalates the suspense, he develops a credible, compelling love story. Edwards makes a strong impression as an ordinary man in an extraordinary situation, while Winningham is attractive, persuasive and, particularly in the final scenes, achingly poignant. The supporting players are strong, and the dialogue, often darkly comical, rings true.

Miracle Mile flies economy class, with more emphasis on human drama than special effects, but it never looks or sounds cheap. The first-rate cinematography is by Theo Van de Sande, and the ominous musical score is by Tangerine Dream.

You can take a look at the entire April 5-14 WorldFest/Houston lineup here.

Austin. Sunday. Miracle Mile. Be there, or be square.

Great news: Miracle Mile, writer-director Steve De Jarnatt's classic 1989 thriller, will be screened at 7:20 pm Sunday at the Alamo Drafthouse Ritz in Austin. But wait, there's more: It's my great pleasure and privilege to announce that I'll be serving as host (or facilitator, or whatever the hell they call it) for an on-stage Q&A with De Jarnatt after the screening.

I am especially geeked about the occasion because... well, this isn't the first time I'll be involved with a public showing of De Jarnatt's devastating flick. Back in 1989, I introduced it as my critic's choice at the WorldFest/Houston International Film Festival (then known simply as the Houston International Film Festival), where it wound up rocking the house and winning best of fest honors. 

A few weeks later, during a Cannes Film Festival reception, I was told by one of the muckety-mucks at Hemdale -- the outfit that had originally bankrolled the film -- that because of the enthusiastic response at the H-Town fest, his company was giving Miracle Mile a wider theatrical release than originally planned. He also said my rave review -- blurbed in all the original advertising and, later, on the homevideo packaging -- was another factor considered when the Hemdale brass made their decision. 

Maybe he was telling me the truth, maybe he was stoking my ego. But consider: De Jarnatt recently thanked me in a Facebook post for being an early supporter of his film. So I can only assume that I played some role, however small, in getting Miracle Mile out into the world. And that makes me very happy.

So what's it all about? As I wrote in my 1989 review:

Miracle Mile is an audacious doomsday thriller with a 20-megaton impact. Deceptively simple and relentlessly gripping, it represents American independent moviemaking at its most exciting and accessible for mainstream audiences. Be prepared to be blown through the back of the theater...

Anthony Edwards (Revenge of the Nerds) and Mare Winningham (St. Elmo’s Fire) are the lead players, and they are exceptionally well-cast. Edwards is excellent as Harry, a soft-spoken, sweet-natured would-be jazz musician who moves to Los Angeles in search of a musical career and, perhaps, romance. Like most newcomers to Los Angeles, he checks out the sights on the Miracle Mile, the long stretch of Wilshire Boulevard that runs from the towering skyscrapers of Century City to the edge of the La Brea Tar Pits. On a museum tour near the pits, Harry meets Julie (Winningham), a lovely waitress who just happens to be fond of jazz. Love blooms, instantly.

Unfortunately, Harry oversleeps, and arrives at the diner where Julie works three hours late for their midnight date. He tries to call her from a pay phone, but she doesn’t respond -- she has taken a sleeping pill, turned on her answering machine, and dozed off. Harry is depressed. Worse, he doesn’t know exactly where Julie lives, so he can’t drop by to apologize.

Then the pay phone rings, and Harry picks up the receiver. On the other end is an anxious young man calling from a missile base somewhere in North Dakota. It’s a wrong number -- the caller was trying to reach his father in another area code, to warn him that World War III is about to begin, that nuclear missiles will likely hit Los Angeles in 70 minutes.

Harry thinks the caller is a practical joker. But then he hears gunshots. And then he hears a stern voice on the line, warning him to “forget everything you’ve just heard, and go back to sleep.” 

This is not a dream. This is not a test. This is an actual alert.

And that is all the detailed plot synopsis you will get from me. Suffice it to say that Harry moves heaven and earth to get to Julie, so she can join him for a last-chance flight to safety. Naturally, several obstacles, and not a few people, get in his way. And even when the lovers are reunited, they have to contend with the panicky mobs who have been tipped off about the approaching apocalypse.

Writer-director Steve De Jarnatt draws you slowly, steadily into his frightfully plausible plot before he yanks you by the lapels and drags you onto a high-velocity roller coaster. Better still, even while he skillfully, even mercilessly, escalates the suspense, he develops a credible, compelling love story. Edwards makes a strong impression as an ordinary man in an extraordinary situation, while Winningham is attractive, persuasive and, particularly in the final scenes, achingly poignant. The supporting players are strong, and the dialogue, often darkly comical, rings true.

Miracle Mile flies economy class, with more emphasis on human drama than special effects, but it never looks or sounds cheap. The first-rate cinematography is by Theo Van de Sande, and the ominous musical score is by Tangerine Dream.

And if all of that is not enough for you, take note: Cherry 2000, De Jarnatt's only other feature, a 1987 sci-fi action-adventure in which a badass Melanie Griffith makes things blow up real good, also will be screened Sunday at the Alamo Drafthouse Ritz. And, yes, De Jarnatt will be answering questions about that one, too.