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Roger Ebert hates 3-D and thinks you should too

From his piece in Newsweek:

3-D is a waste of a perfectly good dimension. Hollywood’s current crazy stampede toward it is suicidal. It adds nothing essential to the moviegoing experience. For some, it is an annoying distraction. For others, it creates nausea and headaches. It is driven largely to sell expensive projection equipment and add a $5 to $7.50 surcharge on already expensive movie tickets. Its image is noticeably darker than standard 2-D. It is unsuitable for grown-up films of any seriousness. It limits the freedom of directors to make films as they choose. For moviegoers in the PG-13 and R ranges, it only rarely provides an experience worth paying a premium for.

I don’t know about the rest of you, but I’m closing my eyes and pretending that 3-D doesn’t exist. I am perfectly happy with cinema the way it is, especially now that I can watch feature films at home in high definition.

I’m almost 37, so am I at the point in my life when I stop embracing new technology just because I don’t want to adopt it? Or is this tech a waste of time? As always, the general public will ultimately be the judge. (Please choose wisely!)

Monday night at the movies, the post TCM Fest edition.

I’m recovering from the fest and doing other stuff as well, so I’m going to try and keep things fairly short tonight.

* The non-extra initial Blu-Ray/DVD release of “Avatar” has, guess what, done very, very well.

* Thanks, Hef! He saves the world for heavily retouched naked women, pays writers more than just about anybody, and now he ponies up the missing funds to save the Hollywood sign.

* One item I don’t actually have to link to report on is that the TCM Classic Film Festival is going to be back next year, with the idea of being an annual event. I can do that because I was present at last night’s big screening of “Metropolis” where none other than Robert Osborne announced it to the assembled multitudes at the more beautiful than ever Grauman’s Chinese Theater.

What was interesting about the way this festival was marketed is that people who live in Los Angeles were clearly not the primary target. Individual ticket prices were roughly double what film geeks like myself are used to paying to see similar presentations — actually more than double when you consider that most repertory programs are actually double bills. With the exception of fellow press and a USC film student who had picked up one of thirty free tickets that has been donated, everyone I spoke to was from elsewhere, and usually a place where the opportunity to see such frequently revived cinematic warhorses as “Casablanca” and “Some Like it Hot” on the big screen are nevertheless beyond rare.

IMAG0094

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Midweek movie news

Regular readers might have noticed that I’ve taken a couple of days off, and with the TCM Film Festival kicking off tomorrow night, and some other things possibly brewing, I might not be following my exact usual schedule for the next several days, though I’m sure I’ll be posting stuff, but we’ll have to see.  In the meantime, there’s plenty going on and I’m sure I’ve missed something.

Chloe Moretz smashes face* We eventually did get a clear, but narrow, victor in the weekend box-office battle, but nobody’s too excited about the performance of “Kick-Ass.” The film will make money, $19.8 million is not bad for a $30-40 million dollar movie, and it should help everyone’s career, but I wouldn’t bet on a sequel unless it holds really extremely well and also cleans up in home video. Also, it should be noted that the superhero comedy had a slightly unfair advantage because of its late Thursday night opening getting included in the take — at least I think it was. Steven Zeitchik, who thought the film would break out in a major way, offers a post-not-quite-mortem.

* James Cameron‘s new interview with the L.A. Times will annoy conservative anti-environmentalists and climate deniers as well as fans of contemporary written science fiction. (It’s too complicated and self-referential to make a movie out of, Cameron states, apparently unafraid of the sweeping generalization.) However, “Avatar” fans will be delighted to know that two more movies appear to be in the offing along with that extended August 3-D/Imax re-release. Cameron’s cast and crew will be, I imagine, much less happy to learn that “Avatar 2” will involve water, and lots of it. What is it with this guy and moisture? (H/t the Playlist.)

Titanic 1996

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Dial 3 for 3-D, or something

The news that Martin Scorsese will, as previously hinted, be filming “The Invention of Hugo Cabret” in 3-D could be cynically interpreted as simply a case of an artistic but shrewd director jumping on a popular bandwagon. However, I’m not really a cynic and to me it brings to mind the last time that a truly great director made a film in 3-D. With all due respect to James Cameron and his undoubted huge technical achievement with “Avatar,” that was when Alfred Hitchcock took up the huge challenge of shooting in three dimensions with 1954’s “Dial M for Murder.”

The trailer below doesn’t mention the process because, despite the enormous trouble taken to film it in three dimensions, by the time the thriller, an adaptation of a wildly successful play, came out interest was already waning in the process — probably largely due to sub-standard films generated by the 3-D fad (modern day executives take note). Therefore, “Dial M for Murder” was, for the most part, released “flat.” Nevertheless, check out the way Hitchcock uses the (extremely huge) camera and the care he takes with the art direction.

If that phone seems a bit odd to you, it’s because Hitchcock actually had, as per this TCM synopsis by Jeff Stafford, a giant dial constructed to get the exaggerated look he wanted. Mr. Hitchcock was prone to exaggeration and a perfectionist, but one who always had a reason. For example, here’s his note about the portrayal of the film’s main weapon:

This is nicely done but there wasn’t enough gleam to the scissors, and a murder without gleaming scissors is like asparagus without the hollandaise sauce – tasteless.

Someone has probably already said this, but Hitchcock wasn’t always tasteful, but he was never tasteless, if you follow me.

Movie news night notes

The lesson for tonight is never rely on the “save and quit” feature of Mozilla to actually, you know, save your tabs. Here’s what I’ve been able to salvage.

* Probably the biggest geek movie news of today was word via Mike Fleming that “Nick and Norah’s Infinite Playlist” director Peter Sollett, also of the critically acclaimed “Raising Victor Vargas,” may helm the upcoming comic book adaptation, “Runaways.” Created by Brian K. Vaughn for Marvel, the book deals with the teenage angst of a group of kids who find out that their parents are supervillians and, of course, like all of us, they have some genetic baggage to deal with. Vaughn is also reportedly working on a script.

Another frequently mentioned name in connection with this project, who may or may not still be in the directorial running, is Joss Whedon, perhaps the cultiest of cult creators these days. Whedon is a natural thought given that he’s an accomplished film-maker comfortable with both relationships and action, made his name dealing with teen-angst on “Buffy, the Vampire Slayer” and, much more recently, wrote several issues of “Runaways.”

On the other hand, “Playlist” has a bit of a cult following of its own though Sollett hasn’t had to deal with action yet. Christopher Campbell notes that Sollett “did make an indie romantic film, so like Marc Webb he gets a Marvel superhero movie” and gathers the predictably diverse reaction.

* This may not be the most thoughtful reaction, and it sure does sound like some funny people are involved with it, but the news of the animated “Star Wars” sitcom brings one response to mind: “Noooooooooo!!!”‘

* Another item from AICN’s Hercules, much more to my liking — it’s about the latest restoration of what has to be one of the most often restored movies in film history and certainly one of the most important science fiction films ever made, Fritz Lang’s enormously influential silent film, “Metropolis.” The latest version actually brings the film to its original roughly 2.5 hour running time — the 90 minute version of my youth was more recently brought up to about 2 hours — and will be getting a theatrical run before the inevitable Blu-Ray/DVD release.

metropolis

Better yet,  for me anyway, is that opening night will be at Hollywood’s Chinese Theater as part of the festival sponsored by my favorite movie cable channel by far, the great and glorious TCM.

Do I sound like I’ve been bought off ? That’s because I have been. Specifically, my press credential has just cleared and it looks like I’ll be at that premiere with a live musical accompaniment, come heck or high water. But why does it have to be running opposite Tony Curtis hosting a showing of probably the best sex farce ever made, “Some Like it Hot“?

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