“Beauty and the Beast” is perhaps even more stunning in 3D than “The Lion King,” which surprised the industry with a whopping $94 mil. at theaters last fall initially intended as a brief run to promote the Blu-ray 3D debut.
The 1991 “Beauty,” which has grossed $350 million worldwide since then, was one of the first animated films to use some digital animation. That helped greatly in the 3D conversion. Among the most notable new attributes:

- Belle’s opening number walking across bridge and into village is filled with so many shots showcasing 3D that it looks to have been originally designed that way.
- Extravagant “Be Our Guest” number does not disappoint with obvious 3D benefits of dancing plates
- Signature “Beauty and the Beast” ballroom dance even begins with dazzling display 0f 3D from bottom and top of staircase.

Meanwhile, Mission: Impossible – Ghost Protocol, which had an exclusive five-day window at IMAX theaters last month, picked up another $14.2 mil. this weekend, increasing total domestic box-office to close to $190 million, surpassing the original movie in the series.

Another 3D movie, “The Adventures of Tintin,” picked up another  $4.4 million, bring the domestic gross total-to-date to $68.9 million.

– By Scott Hettrick

* “Arthur Christmas“ is easily the more broadly enjoyable of the two. It’s hard to imagine anyone not finding this clever twist on Santa Claus charming and delightful.
The computer-animated family film from British production company Aardman, traditionally known for stop-motion films such as “Wallace and Gromit” and “Chicken Run,” has delivered an unexpected holiday gift for Sony Pictures Animation.

The story follows three generations of the Claus family trying to come to grips with the transition of leadership to the next in succession. With the current Santa (Jim Broadbent) of retirement age and showing signs of slipping, the likely next-in-line is eldest son Steve (Hugh Laurie), who has been preparing for the day for years with his high-tech mechanization and military style management of the entire North Pole process, including a super-sonic sleigh. But the even older GrandSanta (Bill Nighy) favors the traditions of his day and the passion of his younger unassuming and nerd-ish grandson Arthur (James McAvoy).
It all leads to a slightly predictable but nonetheless amusing scenario in which young Arthur finds himself trying to save the day using his Grandsanta’s dilapidated sleigh led by the few surviving reindeer to reach the chimney of a young girl who was inadvertently bypassed by Steve’s digital distribution.

Director and co-writer Sarah Smith, with the assistance of Sony Pictures Imageworks, uses the 3D to good effect in almost every shot. While it seldom pushes off the screen very much, the depth and space between objects close and far is palpable throughout, especially in scenes depicting the factory command center full of tiered rows of elves, and the aerial shots from the perspective of the sleighs.

* “Hugo“ is full of heart and a loving tribute to one of the original pioneers of cinema, Georges Méliès of turn-of-the-century France. The film, set in a train station in 1930s Paris, takes awhile to build up a head of steam and feels more like a period European film for its long-ish running time of more than two hours.
But the sweetness and sentimentality of the story about an orphaned young boy trying to complete the dream of his father while secretly keeping the giant station clock tower properly wound up, is sincerely conveyed by director Martin Scorsese and the cast of Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, and Chloë Grace Moretz.

Even more impressive is Scorsese’s use of 3D, which greatly enhances the impact of the story, subliminally drawing the audience in visually, as it should. He also uses 3D to create more obvious dynamic effect, starting with the first scene in which the camera moves at a fast pace through the station, past the trains, and between the crowds to immediately establish the setting and the feeling of the hustle and bustle far more effectively than could be done in traditional 2D.
Likewise, 3D provides a far more dramatic visualization of the enormous vertical scale and scope of the station clock tower to initially enhance the sense of detachment of Hugo from the swarms below, and later to emphasize the scope of his view of the Paris skyline, and finally to create a heightened sense of fear and suspense during a chase to the top of the staircase.
Even Méliès’ iconic film “A Trip to the Moon” gets a tantalizing 3D makeover, as well as impressive colorization.

– By Scott Hettrick

A lot is riding on Disney-Pixar’s “Cars 2,” so to speak.
Pixar chief John Lasseter used to denegrate Disney animated movie sequels, except for his own “Toy Story 2,” especially those that Disney premiered first on DVD. But in the past few years he not only greenlit “Toy Story 3″ and the upcoming prequel to “Monsters, Inc.,” this year he released “Cars 2″ and is building an entire theme park land (Cars Land) at Disney Resort’s California Adventure based on the franchise.
Lasseter even has a “Cars” spin-off called “Planes” set to premiere first on Blu-ray in 2013, and has produced a couple handfuls of Cars Toon shorts for the Disney Channel and theaters that are available on a separate Blu-ray set called “Mater’s Tall Tales.”

The new “Cars 2″ Blu-ray 3D  features promotions for that “Planes” production, and it looks great in 3D and appears as if it will be great fun as well.
Likewise, the new theme park attraction also gets a big plug here — in 2D, not 3D — and also looks to be a very fun theme park land, especially Luigi’s Flying Tires levitating ride that offers a nostalgic revival of the 1966 short-lived Disneyland Flying Saucers attraction.

Other most notable bonus features:

* “Air Mater,” exclusive new Cars Toon 3D animated short that appears to be a transitional production to bridge “Cars” with the upcoming “Planes,” with tow truck Mater sprouting wings and flying with an aerial acrobatic team of jets. Whatever drove the creative concept, the outcome is very entertaining, the 3D is quite effective, resulting in a fun cartoon that should appeal to all viewers.

* A 3D trailer for the studio’s upcoming 3D animated theatrical release “Brave” is enticing.

* Toy Story Toon “Hawaiian Vacation,” the six-minute 2D animated short that preceded “Cars 2″ in theaters is a fun cartoon depicting the gang of toys working together to try to create a faux island getaway for Ken and Barbie while house-bound during the dead of winter.

* Full menu of “on-location” featurettes, from Tokyo to London and many points in between, offer fun behind-the-scenes shorts and a couple of unmarked surprises as well.

Interestingly, the “Cars 2″ movie itself, depicting the lovable collection of automobile personalities in an overseas adventure, is probably the least interesting element of this entire set. The primary challenge for the viewer, particularly younger kids, is that the story is far too ambitious, mixing in multiple plot lines involving the strained relationship between Mater and Lightning Queen, a complicated international spy ring conspiracy revolving around a duplicitous oil corporation pretending to be promoting alternative fuels, Mater’s inadvertent complicity in that mystery, and Mater’s budding romantic relationship with a femme fatale motorcar.
As is typical for Pixar movies, the 3D is very subtle to the point where it feels superfluous, except for the enjoyably intense opening scene depicting a boat in the unlikely setting of a dark and turbulent ocean.
Even if the story isn’t as fun and engaging as we are used to from Pixar movies, the extravagant locations are visually dynamic and the movie has moments in which it draws knowing humor from Mater dealing with the customs of overseas cultures, especially in Tokyo.

– By Scott Hettrick

Disney-Pixar did 3D conversions of the original “Toy Story” and “Toy Story 2″ that were released theatrically as a double-feature in 2009. The following year  the company released the first made-from-scratch 3D installment in the series when “Toy Story 3″ was released theatrically in summer 2010.

Although Disney already released elaborate Blu-ray editions of all three films, none were offered in Blu-ray 3D until now. All three movies are being released Tuesday, Nov. 1 in four-disc and five-disc combo sets for $49.99 each, which each also include the previous Blu-ray, DVD and digital copy versions — “Toy Story 3″ includes a second Blu-ray disc of bonus features. For those who already have all those previous iterations, Disney has gratefully offered a 3D Trilogy set that includes only the three Blu-ray 3D discs of each movie for a $100 retail price — Amazon.com has priced it at less than $68, making it a very reasonable cost of less than $23 per disc.

Each 3D disc includes impressive 3D trailers for upcoming 3D animated Disney studios, “Brave,” and Pixar’s made-for-disc spin-off of “Cars” called “Planes” in 2013.

Curiously, and disappointingly, the delightfully clever Oscar-nominated 3D short, “Day & Night,” is not included in 3D on the “Toy Story 3″ disc.
It is, however, included on the 2D Blu-ray bonus disc, as are numerous behind-the-scenes programs and interactivities including a fun trivia game with questions specific to “Toy Story 3″ or to all three movies in the series.

Click the following for a review of the “Toy Story 3″ Blu-ray edition.

This is one of the few movie series that many felt improved with each new installment. While I would not argue strenuously against that opinion, I enjoyed “Toy Story 2″ more than the most recent installment, which is also terrific but features several scenes that are suprisingly intense.

Pixar’s very subtle approach to 3D remains in evidence here. While the 3D on some movies is accentuated for home display, all three of these films offer little more than a slightly greater sense of depth, with the 3D only really noticeable in a handful of scenes.

Click the following for a complete review of the theatrical film “Toy Story 3.”

– By Scott Hettrick

• “The Lion King” Diamond Edition 3D (Disney, 4-Disc Combo Pack, $49.99) is enormously impressive and satisfying on many levels, starting with the 3D HD disc:
  - More depth and emotional impact than ever.
  - Clear distinction of depth between images in foreground and those on multiple background planes in opening pre-title sequence soaring over the plains of Africa and running with the indigenous herds of animals.
  - No sense of gimmickry.
  - Much more powerful moment when Rafiki presents young Simba in air atop Pride Rock
  - Far more intense sequences amidst the bones in the animal graveyard and deep inside the dense overgrowth.
  - Viewer drawn much closer during tender moments when young Simba curls up under the paw of his dead father and when Nala leans in to affectionately rub her head against Simba’s neck upon finding him alive. Simba’s reflection in the water feels tangible.
  - Fun 3D preview for “Cars 2.”
  .
  Treasure trove of new and previously-released bonus features on other discs:
  - 3 1/2-minutes of voice bloopers & outtakes cleverly set to animation as if the animated characters themselves made the flubs.
  - 38-minute elegantly and admirably produced retrospective “Pride of the Lion King” featuring almost all the current and former Disney top brass involved with the movie and Broadway play adaptation, and several voice cast.
  - 20-minute illuminating and fascinating personal video memoir of the evolution and production of the movie by producer Don Hahn.
  - 14 minutes of a handful of deleted scenes with director intros
  - Hours of additional sing-alongs, interactivities, and previous DVD bonus features.
  .
• “Beauty and the Beast” Diamond Edition 3D (Disney, 5-Disc Combo Pack, $49.99) is perhaps even more stunning in 3D than “The Lion King.” It was one of the first animated films to use some digital animation, which helps greatly in the 3D conversion. It is the 3D that is the most dynamic aspect of this new edition:
  - The opening menu instantly dazzles with impressive depth of text options that pop off the screen.
  - Belle’s opening number walking across bridge and into village is filled with so many shots showcasing 3D that it looks to have been originally designed that way.
  - Extravagant “Be Our Guest” number does not disappoint with obvious 3D benefits of dancing plates
  - Signature “Beauty and the Beast” ballroom dance even begins with dazzling display 0f 3D from bottom and top of staircase.
  .
  And all the terrific bonus features of “Beauty and the Beast Diamond Edition” 2D Blu-ray released a year ago.

– By Scott Hettrick

From the opening pre-title sequence soaring over the plains of Africa and running with the indigenous herds of animals, producer Don Hahn and stereoscopic supervisor Robert Neuman, the latter of whom did 3D so well on Disney’s “Tangled,” imbue the movie with a clear distinction of depth between the images in the foreground and those on multiple background planes without injecting any sense of gimmickry. The triumphant moment when Rafiki presents the young Simba up in the air atop Pride Rock is much more powerful; sequences amidst the bones in the animal graveyard and deep inside the dense overgrowth are far more intense.
The audience is drawn much closer during tender moments when young Simba curls up under the paw of his dead father and when Nala leans in to affectionately rub her head against Simba’s neck upon finding him alive. Simba’s reflection in the water feels tangible.

(l-r) Producer Don Hahn, stereographer Robert Neuman, directors Rob Minkoff and Roger Allers

An enthusiastic D23 Expo audience in Anaheim last night (Aug. 20) was treated to the first public screening of the new 3D edition of the 17-year-old movie that will have a limited theatrical run next month before being released on Blu-ray Oct. 2 along with a long-delayed 3D version of “Beauty and the Beast.” Hahn, Neuman, and directors Rob Minkoff and Roger Allers discussed the movie on stage Saturday night before the screening began.

About four-minutes of clips from the Blu-ray 3D version of “Lion King” and a teaser from “Beauty and the Beast” have been playing in the Exhibit Hall at D23 since Friday on Panasonic equipment. The home version and the big-screen version both look equally impressive.

Disney introduced the studio’s first attempt at converting movies to 3D – “Toy Story” and “Toy Story 2” –  at the first D23 Expo in 2009 with far less dynamic results.
Hakuna Matata – this time Disney got the 3D conversion right on “The Lion King.”

– By Scott Hettrick

At the last D23 Expo in 2009, Disney introduced the 3D conversions of “Toy Story” and “Toy Story 2″ and showed scenes from “Beauty” which was to be released theatrically in early 2010. It was at the height of interest in 3D following the release of “Avatar.”
But the theatrical release of a double-bill of “Toy Story” and “Toy Story 2″ in the fall of 2009 proved to be less than spectacular, grossing only $30 million domestically and $32 million worldwide.

The release of “Beauty and the Beast” was subsequently delayed several times before finally being announced for Blu-ray DVD earlier this year.

Prices for the theatrical 3D presentations of “The Lion King” and “Beauty and the Beast” at the El Capitan range from $10 – $23 and include a stage show and breakfast with Belle at “Beauty” and breakfast and a stage show appearance by Timon at “Lion King.”

– By Scott Hettrick

It’s the second major summer release in a row after “Transformers: Dark of the Moon” to offer 3D that provides a distinct visual value for attendees paying a premium for 3D on top of the IMAX premium ticket price, which is, as always, the best and most impactful way to enjoy movies, particularly of this visual caliber. While nothing pops off the screen like the dynamic 10-9-8… countdown of the IMAX pre-feature logo, there are plenty of scenes enhanced by the obvious depth between characters, backgrounds, and multiple elements in the shot.

This final “Potter,” guided for the fourth time by director David Yates, is far more entertaining and satisfying than the previous plodding Part One of this two-part installment. There are a surprising number of scenes played for laughs, which is a welcome relief, and the most unlikely of characters, Neville Longbottom, becomes the hero and gets one of the major roles of the movie. It also wraps up the series nicely with well-crafted appearances by all the major characters of the franchise, even those who have been killed, without dragging it into a bloated and self-indulgent three-hour curtain call like the final “Lord of the Rings. Rather than the bloated 2 1/2-hour running time of the last couple of Potter episodes, this one clock in at much more efficient 2-hours, including the book-following epilogue in which the three main characters are depicted in a happy ending 19 years after the big showdown between Potter and Lord Voldemort.

The movie debuts Friday, July 15, in a record 274 IMAX locations in the U.S., where it had garnered a record $8 million in advance ticket sales Tuesday, and opened Wednesday in some international markets. Globally, the movie will be playing in 395 IMAX theaters and grow to 423 over the following four weeks.

In order to meet the demand, many IMAX theatres have scheduled 3:00 a.m. shows, with multiple theatres featuring 24-hour showtimes for opening weekend.

– By Scott Hettrick

All this in 45-minutes, in giant IMAX, and in 3D, at the California Science Center beginning this weekend and running for several months.
And once again IMAX showcases 3D as it should be presented, creating a completely immersive experience to the point that you even feel as if the sand is blowing inches from your face.

<Story continues following the 3-minute video interview below with “Arabia 3D” filmmaker Greg MacGillivray, who explains why IMAX 3D is the only format getting 3D right.>

It was these one-dimensional stereotypes and misconceptions that people and businesses of Saudia Arabia, including oil companies, sought to change through a film that could paint a more layered and comprehensive portrait of the Arabian culture. Longtime IMAX filmmaker Greg MacGillivray, who directed photography for “The Towering Inferno” and Stanley Kubrick’s “The Shining” before spending the next 35 years producing and directing spectacular and award-winning IMAX films such as “Everest” and “Grand Canyon,” accepted the challenge to spend four years on “Arabia 3D.”

The challenges included shooting in a country that has no cinema infrastructure and has not allowed cameras near most anything. And these were not ordinary cameras — they were extraordinarily large IMAX cameras with 3D that shoot only 3-minutes of film before requiring reloading.

The result is a movie filled with fascinating and enlightening historical and contemporary context and anecdotes as conveyed through narrators such as Helen Mirren and three contemporary citizens, including the most engaging one, a film student at Chicago’s DePaul University who is tracked as he returns to his homeland to make his own movie about the country.

While it can be a little slow and dry at times, no joke intended, the enormous amount of in-depth research that went into “Arabia” is clear and presented well, and the photography and 3D is stunning. That photography includes From multiple shots of camels doing that tri-fold thing with their legs every time they want to simply lay down; underwater 3D exploration of shipwrecks of the Red Sea; and ultimately the staggering shots in the holy city of Mecca and the masses of humanity winding through a circle of ceremony.

Everyone will learn a lot about the Arabian culture, and hopefully Hollywood mainstream filmmakers will learn how 3D should be produced.

– By Scot Hettrick

It was Walt Disney Studios Home Entertainment that announced a two-week domestic run of “The Lion King: Diamond Edition” in more theaters than any of its releases since its debut in 1994, and this time for the first time in Disney Digital 3D.

The Blu-ray release will be the first HiDef version of the movie that has not been available on any format since 2004. Even so, “The Lion King” is the best-selling home entertainment release of all time,” said Bob Chapek, president of distribution, The Walt Disney Studios.
The home Diamond Edition ($49.99 for the 4-disc Blu-ray 3D) will include interactive features and bonus content, including a new set of hilarious animated bloopers.
An eight-disc trilogy will also be available for $100, which includes the Blu-ray 3D “Lion King” and the first Blu-ray (2D) versions of the two DVD premiere sequels, “The Lion King 1 1/2″ and “The Lion King II: Simba’s Pride.”

Interestingly, Disney has yet to announce a specific release date for the 3D version of “Beauty and the Beast” in theaters or on Blu-ray other than to say it would be released on Blu-ray sometime in 2011. The Diamond Edition of the movie was released on Blu-ray only last October. That was originally to have been in 3D and to have followed the 3D theatrical release of “Beauty and the Beast,” which was converted to 3D prior to “The Lion King” two years ago. But Disney’s plans changed after the tepid reception for the theatrical release of the double-feature converted 3D release of “Toy Story” and “Toy Story 2″ in 2009.

Having released recent 3D theatrical releases “Tron Legacy,” “Tangled,” “Alice in Wonderland,” “Step Up 3D,” and “Disney’s A Christmas Carol” on Blu-ray 3D, Disney announced in January that the studio would also release “Bolt,” G-Force,” and earlier 3D movies “Chicken Little,” Tim Burton’s The Nightmare Before Christmas,” and “Meet the Robinsons” on Blu-ray 3D this year, among others.
Each release was said to include thematically linked 3D menus, and 3D previews of coming-attractions.

– By Scott Hettrick