It finally happened to me: 3D sickness

By Sarah Sluis

When the house lights come down and the opening music swells, I'm normally filled with the excitement and anticipation of settling into a movie. I'm not frantically rubbing my 3D glasses and squinting, trying to figure out if there's something wrong with the image, or something wrong with me.

Yesterday I caught a screening of Sanctum 3D at the AMC at 34th Street in Manhattan, on one of the "smaller" IMAX screens. The executive producer is James Cameron, whose Avatar wowed me, so I was expecting a technically awesome 3D experience. Instead, I felt like I was rehashing the reviews I read of Clash of the Titans. It was not a pleasant experience, but, thankfully, the worst subsided (or my eyes adjusted) within the first twenty minutes.

Scratched glasses. IMAX recycles their glasses, which is a good thing in theory, but can also lead to scratches that impair viewing and lead to that manual polishing, a particularly difficult thing to do during sweater season, when a scratchy wool garment simply isn't an option for polishing. I had a couple of vertical scratches that would leak color/light upwards and downwards. If I looked offscreen at the ubiquitous EXIT lamp, for example, I would see red below and above the text, and it was the same onscreen as well. Some of the "extra" image I saw, however, wasn't because of the scratched glasses, but because of "ghosting."

As described in my article about 3D conversion companies, stereoscopic 3D can lead to ghosting in high-contrast areas. 3D involves combining a left-eye and right-eye image, and high-contrast images often leave a ghostly artifact of the separate images. This happened to me noticeably during one shot that occurred within the first five minutes. I could see a white outline to the left of the object that should have rendered completely to the right. I had the same problem with the white text on the black background, which blurred upwards and downwards--though I suspect this had more to do with the scratches in my glasses than ghosting.

Vertigo/queasiness with sweeping horizontal shots. Sanctum is a thriller set in a massive cave, and the movie opens with some sweeping aerial shots of the jungle and the cave. These gave me a fleeting sense of vertigo, and, at other points in the movie, a bit of stomach unease. Quick pans are a no-no for 3D movies, so either I was extra-sensitive to this shot or the filmmakers tried to move the camera too fast.

So what caused my bad experience? 3D problems can originate with 1) the glasses 2) the theatre's projection 3) the film not working within the limits of stereoscopic 3D 4) being part of the 5-10% (though I've heard as high as 30%) of people that just can't take 3D.

1) My glasses did feel off, and I've successfully seen films with IMAX glasses before as well as Dolby and RealD. I switched glasses with my viewing companion (they didn't bother him) and this seemed to help a bit, but it can't explain all the problems I had.

2) The theatre's projection. Hard to tell. I would have to see this movie again at another theatre in order to speculate, and I really think only an expert could identify exactly what's going on (e.g. if there are syncing issues).

3) The filmmakers. Again, this movie was executive produced by James Cameron so I would expect the technical details to be top-notch. I suspect the filmmakers may have put in some shots that they knew would be challenging to an above-average portion of the audience, but I don't want to indict them for more than that.

4) Me. I've successfully seen close to a dozen 3D movies, and I've overwhelmingly had a positive experience, with a few minor issues. I did feel like I was way too close to the screen, something I've never felt before (and I'm pretty sure I always pick a similar middle spot), and in the future I think I'll sit another five rows back out of caution. I ended up with a dull headache that lasted some time after the credits ended, along with a feeling of having to focus and concentrate way more than normal--it felt as if I had to "squint" the whole movie.

My consensus? I left more puzzled than totally turned off by 3D. Since it's hard to diagnose exactly what happened, I'll do what I can: double-check my glasses for scratches and sit an extra five rows back from the screen. I'm also newly grateful for the fact that movies release in both 2D and 3D for those that have problems with the images, because bad 3D can, literally, give you a headache.

IMAX rounds out its 2011 release slate

By Sarah Sluis

In 2010, nine of the top ten grossing films included a release in the IMAX format. The exception? The animated film Despicable Me, which was squeezed out of IMAX's slate by releasing just three weeks after Toy Story 3. For that reason, it's worth looking at what movies are releasing in IMAX this year. They reflect not only which films studios are hyping, but which tentpoles they think will actually deliver.

Today, Paramount announced that four of the studio's films will release in the big-screen format: Super 8, Transformers: Dark of the Moon, Mission: Impossible--Ghost Protocol and The Adventures of Tintin: The Secret of the Unicorn. Both Super 8 and Tintin have the involvement of Steven Spielberg, making them gimmes, but seeing the relaunch of Mission: Impossible here is more of a surprise. Though Tom Cruise will be in the movie, the main leading man will be someone younger, Jeremy Renner (The Hurt Locker). As for the third installment of Transformers--I can only hope it makes in the low hundreds of millions.

Other IMAX titles that could hit it big:

Sanctum: This James Cameron-produced underground cave film has some confused about the concept, but it will be more like The Descent and not like his documentary Aliens of the Deep. Caves are creepy, but whether or not the concept is pulled off depends on how involved Cameron was in the process.

I Am Number Four: I've already seen ads for this one, which focus on a teen with superpowers who must escape those who want him dead. I haven't seen a good young hero for awhile, so I think the kids will go for this one. Newcomer Alex Pettyfer could be the next Robert Pattinson if he plays his cards right.

Real Steel: A father and son construct robots for fighting matches in a futuristic world. Family dynamics + fight scenes? This one looks like a real winner among male audiences.

Mars Needs Moms: In this cute concept, a boy must rescue his mom, who has been kidnapped by mom-needing Martians. Releasing March 11th, this movie will be in the spring spot that How to Train Your Dragon took last year, grabbing spring breakers and hopefully going for a slow burn at the box office.

Sequels comprise the remainder of IMAX offerings, including Fast Five, Pirates of the Caribbean: On Stranger Tides, Cars 2, Harry Potter and the Deathly Hallows, Part 2, and Happy Feet 2. Of all these sequels, the final Harry Potter will definitely show up in the top ten and the animated sequels to Cars and Happy Feet will also be strong box-office contenders. The third Pirates of the Caribbean was the first one to gross less than its predecessor, indicating the franchise is waning, but it's been four years since we've seen Jack Sparrow so perhaps audiences will be eager to see him once again.

Some movies are missing (won't the latest Twilight open in IMAX, like Eclipse did?), but this list of films probably holds at least three-quarters of this year's top ten.

Audiences return in force for 'Paranormal Activity 2'

By Sarah Sluis

Bowing the week before Halloween, Paranormal Activity 2 debuted at $40.6 million, an exceptional open that proved it was not like Blair Witch 2, which flamed out in its second incarnation. With numbers like these, it's virtually assured there will be a third installment in the series. Who knows, Paranormal could be the next Saw. The majority of the movie's traction, however, came from midnight screenings late Thursday night and Friday, which comprised almost half of the weekend's total--a sign that this movie will fall quickly. The sequel to Paranormal Activity combined a heavy marketing campaign with a reported $3 million production budget, so Paramount will see a hefty return on its investment.

Jackass 3D, which exceeded the success of Paranormal 2 in its opening weekend, fell 57% in its second weekend. That still gives the movie $21.3 million, as well as a near-guarantee that it will top the $100 million mark within the next couple weeks.

Clint Eastwood's take on the supernatural, Hereafter, mixed adrenaline-filled action scenes (tsunami!) with tear-jerking moments (a boy loses his twin!). The formula earned $12 million in its first week of wide expansion. While that number was under some of Eastwood's more successful films, 80% of the audience was over 30, indicating that that film will have some staying power, since teens, not thirty-pluses, tend to turn out opening weekend.

Conviction, which expanded to just 55 theatres, went up 196%, giving it a two-week total of $444,000. Higher up on the list of specialty releases, Waiting for "Superman" kept steady, earning three-quarters of a million dollars for the second week in a row, for a five-week total of $3.7 million.

Financial crisis documentary Inside Job went up 98% to $170,000 as it more than doubled the number of theatres in its release. The Robert De Niro and Edward Norton drama Stone pulled in $361,000, a 57% increase from the previous week.

This Friday, Saw 3D will draw in Halloween audiences, Monsters will lure indie scare-seekers, and the Swedish-language The Girl Who Kicked the Hornet's Nest will begin a limited rollout.

Will 'Resident Evil 3D' scare away the competition?

By Sarah Sluis

The sole wide release this weekend is Resident Evil: Afterlife (3,203 theatres), the fourth in the series and the first to take advantage of the 3D trend. Since The Hollywood Reporter has pronounced zombies the new vampires, maybe the creatures will attract new audiences. Though most critics have yet to see the movie, the first dozen reviews have been mostly negative, prematurely burying the video game

adaptation with an 11% positive rating. Shot in bona-fide 3D using technology pioneered by James Cameron himself--the film appears to have no plot to back up the stunning visuals. According to Bloody-Disgusting (a website that specializes in movies that are just that), director Paul W.S. Anderson "fails to build a story; there's absolutely nothing at stake, and even less for any of the characters to lose." Worse, the site goes on to note, Anderson creates a movie that takes itself too seriously. Despite its dismal reviews, the movie could top $20 million this weekend, especially once you factor in the 3D revenue and 141 IMAX screens.

Twi-hards can see Bella and Jacob on the big screen once more in a re-release of The Twilight Saga: Eclipse (1,187 theatres) intended to promote sales of the upcoming DVD. The next Twilight (Breaking Dawn Part I) comes out over a year from now, so this will be the last chance to see the vampire romance on the big screen for some time. The re-release should average out in the single-digit millions.

Among holdovers, The American is expected to play strongest, given the appeal of the thriller genre and star George Clooney to older audiences.

Joaquin Phoenix's kind-of documentary I'm Still Here (20 theatres) may benefit from a bit of a rubber-

necking, according to FJI critic David Noh, who called it a "cinematic car accident you can't take your eyes from." Filled with drugs, prostitution, a misguided attempt at a rapping career, and nudity, the movie is a bit sad when viewed in context. "Much of the film plays like an extended, wholly misguided cry for help," Noh says, pointing out that Phoenix's real-life experience: His brother died of a drug overdose in front of him, and the 911 tape was replayed constantly, a sick reminder of the tragedy.

Lush Ivy Leaguers contemplate love in The Romantics (NY/LA), which Noh also disliked, dubbing it a "'mumblecore'-style movie gotten up in preppy drag." Those who have been intrigued by Aboriginal culture since seeing Rabbit-Proof Fence can check out a more upbeat, musical celebration in Bran Nue Dae (16 theatres), which "has so much feel-good fizz that you can almost overlook its rickety construction," according to critic Megan Lehmann.

On Monday, it's time for Resident Evil: Afterlife to count its chips from opening weekend, and the specialty films to set their sights on expanding crowds in advance of the numerous year-end awards contenders that will roll in quicker than the fall weather.

For 'Shrek Forever After,' $71 million is a not-so-happy beginning

By Sarah Sluis

The second and third installments of Shrek both opened to over $100 million, so perhaps it's fitting that the final movie, Shrek Forever After, started winding things down, with a $71.2 million debut. DreamWorks

Animation probably saw the writing on the wall with Shrek 3, which earned just 2.6 times its opening weekend. By comparison, the first Shrek movie earned an astonishing 6.3 times its opening weekend, while Shrek 2 earned 4.1 times its opening weekend. Most animated movies have better-than-average holding power, but Shrek movies have started to play more like franchise blockbusters, drawing in first-week audiences but then failing to catch on among a wide audience or those who have grown tired of the franchise. Good reviews for the fourth film could help this movie in coming weeks, as will its three competition-free weekends before another 3D animated sequel hits the market, Toy Story 3. Even with diminished returns the fourth time around, if Shrek Forever After can bring in three times its opening weekend, it's set for over $200 million in the U.S.

"Saturday Night Live" skit-turned-movie MacGruber attracted just a small subset of SNL viewers for an

underwhelming $4.1 million weekend and sixth place finish. The comedy was the first SNL skit to be made into a movie in ten years, and its poor performance does not bode well for another skit adaptation to hit theatres. I personally was not even a fan of the skit, which was pretty one-note, and it appears many other viewers felt the same way and passed on the movie.

A Bollywood movie cracked the top ten this week. Kites brought in $1 million to debut in eighth place. Our critic Frank Lovece described the movie as "not what most audiences think of when they think Bollywood," but the Bollywood-lite emphasis on fate, romance, melodrama, and action may have been just what American audiences were looking for. An even shorter version, Kites: The Remix, will open this Friday, intent on attracting mainstream audiences.

The strongest returning films in the top ten were Letters to Juliet and Date Night. Letters to Juliet dropped just 32% to $9.1 million in its second weekend. Summit predicted strong word-of-mouth two weeks ago after holding sneak previews of the film, and it appears they were right. Date Night held steady with a 26% slide in its seventh weekend, earning $2.8 million. The stars of these two films are among my favorites and most "likable," which I think has something to do with their movies' holding power.

Among specialty films, Solitary Man had the highest per-screen average, $22,500. Michael Douglas "delivers one of the finest performances of his career," according to critic Kevin Lally. With an 81% positive Rotten Tomatoes rating, this movie is poised to do well in coming weeks.

This Friday, female audiences will finally have their turn to make a film go to number one with the debut of Sex and the City 2, and Prince of Persia: The Sands of Time will seek to enchant younger-skewing and family audiences.

'This Is It' shows Michael Jackson as we want to remember him

By Sarah Sluis

I knew Michael Jackson first as someone photographed with scarves and clothes covering his head. Magazine articles speculated about his appearance and plastic surgery, allegations were put forth about his sexual abuse of children, and his own children had mysterious paternity and maternity.

That's not the Michael Jackson you see in This Is It. For a younger generation, many of whom filled the seats at my Wednesday night screening, the concert documentary offers an opportunity to see the King of Pop back in peak form. He's guarded, not reclusive, and his exacting nature comes across as perfectionism, not diva behavior.

Because Michael Jackson is holding back on singing in the rehearsals to preserve his voice, the most stand-out songs are those staged with elaborate choreography. The dancing has incredible energy, precision, and ingenuity. Even surrounded by powerful dancers half his age, Jackson comfortably holds the lead. The dancers also help cue our awe. A casting session whittles down the hundreds of immensely talented dancers vying for a spot, and the ones that remain seem overjoyed by the opportunity to work alongside one of their idols. They applaud during rehearsals and show an incredible amount of respect for the man who has influenced contemporary dancing.

For those curious about the challenges of staging big concert productions, plenty of behind-the-scenes moments abound. The audience at my screening got a big kick out of Jackson's direction to let a song intro "simmer," and shouted the phrase back at the screen with a joyful glee--"Let it simmer, Mike!" One of Jackson's accompanists, after getting grilled by Jackson about the "simmering" pace, goes on to convey his respect for a pop artist who is such a perfectionist. He actually knows all his records and exactly how everything should sound. In the age of Auto-Tune, Jackson is a welcome anomaly. Though it seems he was planning on using echo effects live, judging from one performance, he brings with him a history of pop singing independent of the technological crutches standard in today's music world.

This Is It is worth going to the theatre for the crowd, but not necessarily for the IMAX. While the quality is far better than you would expect, the aspect ratio sometimes shifts to something smaller and grainier. Director Kenny Ortega, who was in charge of both the stage and film production, puts together an engaging two-hour experience. He expertly conveys half-completed effects, and instead of feeling like you missed something, you fill in what could have been. By showing us the strength of Jackson's would-be stage performance, This Is It seals his reputation as an icon.

'Avatar' trailer igniting fans

By Sarah Sluis

Fox released the trailer for Avatar this morning, and it's confirming that this movie will be the must-see event in the holiday movie season. Since 25 minutes of the film were released at Comic-Con, and 15 minutes

of footage will be previewed tomorrow to those who received their IMAX

tickets, awareness and twittered first impressions are already rising, a good four months before its release.

The trailer opens with a technically stunning image of a space station and plane (a more polished version of Star Wars), and then segues into a series of aerial shots over the Na'vi planet, covered in acacia trees. Then we see Sam Worthington, who plays a paralyzed ex-Marine, rolling out of a ship in a wheelchair. In a laboratory, he sees his animated avatar floating in liquid before undergoing a process by which he inhabits the form. The rest of the trailer is a build-up montage of battles and hints of Worthington's relationship with a Na'vi woman (Zoe Saldana). Cameron claims to have had the idea for over fourteen years, but held back from making the movie until he could create a believable alien that audiences could identify with. The blue aliens in the trailer are tinged with the patina of CGI, but those who have seen the 3D images at Comic-Con, on a big screen say they look more realistic in a theatrical setting.

Cribbing from an Internet-supplied plot synopsis (potential spoilers included), the story of Avatar is strikingly similar to that of Pocahontas: a man befriends the natives (or, in this case, becomes one), and is won over to their viewpoint as he also becomes romantically involved with one of them. When the two sides enter into a conflict, he's forced to make a decision.

The story of a mole who changes his sympathies is a familiar one, and can be found in every genre, from spy movies to romantic comedies. There's a reason it sticks around: beneath a superficial premise there's an opportunity to make deep, thought-provoking commentary on the groups involved. Sci-fi movie District 9, which opened last week, also involves a human who becomes alien, and in the process starts to advocate for the "others."

James Cameron is working off an incredibly strong template, and this focus on story and action should broaden the appeal of Avatar to a wide range of viewers. Fox is marketing the movie with the tagline "by the director of Titanic," which

alludes not only to his most successful film, but also its

similarity to the new one. After all, Titanic, is as much an action film as a historical romance, just as Avatar seems to be not just a sci-fi action film, but a story about the perils of technology and colonialism.

IMAX showing a 16-minute first-look at 'Avatar'

By Sarah Sluis

In an unusual but not unprecedented move, a 16-minute sizzle reel of Avatar footage will be shown in over 100 IMAX theatres next Friday, August 21. A similar, slightly longer reel was recently shown at Comic-Con in San Diego. While originally 20th Century Fox's plan was "Show up, and we'll show you the clips," they have wised up to the potential crowds, and opted for an Internet-based clicking contest. Tickets will be given away at 3pm EST Monday, August 17th to the fastest clickers.

Why would a studio give away so much footage? From one perspective, it clearly shows they're confident about Avatar. I also suspect that this is a move to combat studio fears about having a big-budget movie that's not based on a "pre-sold" title. There was no Avatar comic book, best-selling novel, historical event, or television show. The idea is unproven, and people often don't want to risk the unfamiliar. Teased with sixteen minutes of Avatar, people will start talking more about the premise. Maybe part of the surprise will fade, but more people will be interested in seeing the film. It's a double-edged sword. I love the buzz and anticipation that comes before seeing a much-hyped movie, but when it fails to deliver, I'm more disappointed at seeing a "good" movie that was supposed to have been "great." Going into a film assuming it will be horrible, or a straight-up genre picture, can often make you appreciate the ways it has gone above and beyond your minimal expectations. While I hope to catch a glimpse of some Avatar footage before its release, for me, the pre-sold aspect of this movie is writer/director/producer James Cameron. I loved Terminator, Aliens and Titanic. Cameron's movies have connected with fans, who see them again and again, and most people in America have seen these films, no small feat. That he was able to achieve success with both a historic romance/disaster and sci-fi action films makes me respect him even more. 20th Century Fox will release the film during the winter movie season, December 18, 2009, so hopes are high that Cameron can deliver an unforgettable film that will become part of our cultural shorthand.

Disney and IMAX sign deal; 3D popping up everywhere

By Sarah Sluis

Appending to yesterday's post about the 3D version of Monsters vs. Aliens, here's a recap of even more 3D news.

Disney signed a deal with IMAX to release five pictures in 3D on their screens on the same day of the film's general release.  Mimicking the five-picture deal that IMAX has with Warner Brothers, the deal will debut with next winter's A Christmas Carol, which features Jim Carrey in a number of roles.  2004's A Polar Express did extremely well in IMAX 3D, so Disney undoubtedly hopes that the format will make A Christmas Carol an event film, on par with a family's holiday trip to The Nutcracker, The Rockettes or the play version of A Christmas Carol.

Besides generating new 3D content, Disney/Pixar plans to reupholster its classics Beauty and the Beast (1991) and Toy Story (1995) with a 3D treatment.  Beauty and the Beast will release in 2009-2010.  Thanks to archived digital files, the process can be done with all the archived components, but will still take ten months to complete.  Toy Story, already in the midst of a 3D update, will release on October 2, 2009, and will not be part of the
IMAX deal.  Conveniently, Toy Story 3 will release a year later.  Just as the restored Star Wars films reintroduced young audiences to the classic films, the 3D update of Toy Story will introduce new children to Buzz and Woody.

Currently, most 3D films have fallen into the family/children category, with animation and kiddie concert subgenres leading the way (performance capture Beowulf and concert film U2: 3D are two adult-oriented exceptions).  Now that digital projectors number in the thousands (3D projection requires just a simple attachment onto a digital projector), demographics and genres underserved by the 3D experience will soon get the 3D treatment.  Disney's 2010 slate includes Touchstone release Step Up 3, a live action, teen-oriented dance picture.  Lionsgate plans to release horror picture My Bloody Valentine in 3D.  Along with these more niche 3D offerings, all-ages directors James Cameron (Avatar, 12/18/09) and  Tim Burton (Alice in Wonderland 3/5/2010) have films just a couple years away, giving 3D a turn in the spotlight.