Even more impressive is the cumulative global haul of $642 mil. in the first 12 days of release worldwide, according to the Walt Disney Studios, which owns producer Marvel Studios and released the movie.

The enlarged IMAX screen enhances the experience, as does the 3D, though once again not as much as one would like. IMAX trailers of “Dark Knight Rises,” featuring scenes shot with special IMAX cameras, and the IMAX 3D version of “Frankenweenie,” appear to make even better use of both formats.

It goes without saying that the appeal of “The Avengers” has gone well beyond the hardcore comic book fans of the Marvel series, first published in 1963. The Joss Whedon-directed and written movie got generally strong reviews, though I suspect true fans enjoyed the 2 1/2-hour immersion in fantasy more than the casual superhero movie fan. To me, this collection of superheroes — Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow — seems rather similar in concept to “X-Men” and “Fantastic Four,” teams made up of individuals that each have unique supernatural powers.

Don’t get me wrong, I get a kick out of good superhero movies – I thoroughly enjoyed the 1978 “Superman,” the 2005 “Batman Begins,” and “Iron Man” in 2008, and I was entertained by the original “X-Men” and many others, including the recent “Thor.” Perhaps that’s because I enjoy something with more story (especially back-story) and character development than a preponderance of battles with giant computer-generated mechanical space aliens.
Thank goodness for a steady supply of humor by Robert Downey Jr. as Iron Man. Clark Gregg is once again terrific and gets to show a little self-deprecating humor and heroism himself as the otherwise no-nonsense beloved S.H.I.E.L.D. Agent Phil Coulson. Mark Ruffalo is perhaps the most empathetic and human character as Bruce Banner but a little inconsistent in personality and physical capabilities when he becomes the giant green Hulk, though that erratic behavior is played for two good laughs when he cold-cocks Thor in the side of the head just for the hell of it, and when he flips the villain around like a rag doll — Thor’s quasi-brother Loki (Tom Hiddleston). Jeremy Renner was more interesting in “Mission: Impossible – Ghost Protocol” than as the high-tech-arrow-slinging Hawk. Chris Hemsworth surprisingly holds his own, even saddled with  the inexplicable Old English dialogue of his Thor, who hails from another planet. Scarlett Johansson (Black Widow) and Samuel L. Jackson (Nick Fury) have much bigger roles here than in prior Marvel movies, but each is no more than serviceable to the story. The same is true for Chris Evans as the recently-thawed Captain America.
Speaking of story, there are way too many story-lines and way too much going on in general, even for a 2 1/2-hour movie. But, clearly, most audiences have been anxious for an explosive dose of pre-summer mindless escapism. And this one delivers.

The movie was released more than a week ago on April 25 in some overseas territories, where it set all-time opening weekend records in Hong Kong, Malaysia, New Zealand, the Philippines, and most South American and Central American countries, and enjoyed massive openings in the likes of Russia on May 3 ($17.9 million) and China on Saturday, May 5, with $17.4 mil., the biggest Marvel movie opening weekend ever there.

The IMAX 3D version is in 451 digital theatres worldwide, setting a new IMAX three-day opening weekend global box office record with $21.4 mil., bringing the worldwide gross to $31.3 mil. in IMAX theatres worldwide since April 25.

While the $200 mil. in the U.S. blows away the previous biggest opening weekend in the U.S., held by last year’s “Harry Potter” finale at $169.2 mil., the Friday “Avengers” gross of $80.5 mil. and the $69.7 mil. on Saturday were second best all-time.

“The Avengers” is the first Marvel Studios film to be marketed and distributed by The Walt Disney Studios and comes less than two weeks after Disney Studios President Rich Ross was ousted from Disney following the record-setting disastrous opening and run of “John Carter” in March, a rare short-lived IMAX 3D film.
The success of “The Avengers” ensures that more Marvel and Disney superhero movies will be released. The companies announced a month ago that a sequel to 2011’s “Captain America: The First Avenger” will be released April 4, 2014. A sequel to last summer’s “Thor” is scheduled for release November 15, 2013, and the third installment of the hit “Iron Man” series, will arrive in theaters May 3, 2013.

– By Scott Hettrick

It was indicative of the record-setting opening weekend of $152.5 million for Lionsgate’s “The Hunger Games,” the biggest opening weekend ever for a non-sequel in domestic theaters, far surpassing the $116 mil. of “Alice in Wonderland.”

Another opening weekend record was set by the $10.6 million of the gross that came from 268 IMAX screens that offered no 3D like “John Carter” and no scenes shot with IMAX cameras as in “Mission: Impossible – Ghost Protocol.” IMAX audiences were treated only to the bigger and customized IMAX experience, which set records for a digital-only IMAX release and for a non-sequel 2D release.
Some IMAX theaters even added 3 a.m. showings to meet advance demand following sold-out midnight screenings on Thursday night/Friday morning, according to Greg Foster, Chairman and President of IMAX Filmed Entertainment.
“We are absolutely thrilled that so many fans saw The Hunger Games in the IMAX format,” said Lionsgate’s EVP of Distribution and General Sales Manager David Spitz. “The total immersion that IMAX offers surely augmented the gripping story and provided fans with a special way to experience this movie.”
“We believe the IMAX release of The Hunger Games’ helped broaden the audience beyond young females to include our core fanboy audience,” said Richard L. Gelfond, CEO of IMAX. “With sellouts all weekend and IMAX fans coming out in record numbers, these results clearly show that IMAX is a powerful way to eventize a movie.”

It was also the third biggest overall opening ever behind “Harry Potter and the Deathly Hallows: Part 2″ ($169.2 mil.) and “The Dark Knight” ($158.4 mil.).

The female-skewing “Hunger Games” even surpasses the opening weekends of every “Twlight” movie, which were also based on a series of extremely popular books skewing primarily to females.
“Hunger Games,” very similar in the concept of government-managed violent competitions for peons to movies like “Rollerball,” and featuring reality show elements that harken back to movies such as “The Truman Show,”  was easily accessible even for audiences who had not read any of the books, although a few character traits and situations were more clear for those familiar with the novels.

Meanwhile, Universal’s 3D “Dr. Seuss’ The Lorax,” which had less than half that big of an opening weekend three weeks ago, picked up another $13.1 mil. this weekend, climbing past $177 overall in North America.

Two weekends ago IMAX 3D provided a whopping 17% contribution to Disney’s “John Carter” — $5 million from 289 North American IMAX theaters of that movie’s $30.6 domestic opening weekend (the movie grossed another $70.6 million overseas, for a global opening weekend total of $101.2 mil. before Disney announced a write-off on the $250 mil. production). Without IMAX, “John Carter” dropped even more dramatically in its third weekend to just $5 mil., for a total to date of $62.3 mil. in North America and $234.4 million globally.

– By Scott Hettrick

IMAX 3D delivers the best experience on the planet for this mission to Mars. “John Carter” opened in 290 IMAX theatres in the U.S. Friday, March 9, and will play in 194 IMAX theatres internationally.

Director Andrew Stanton has followed his Pixar brother Brad Bird to the big-budget, live-action arena, and the result is a strong and visually dynamic outing that makes for a modestly fun ride through time and space. The story, based on the Edgar Rice Burroughs novel, A Princess of Mars, follows an American Civil War soldier (Taylor Kitsch) to the red planet where he finds himself caught up in another civil war amongst the locals on the fourth rock from the sun. But this time he quickly becomes the reluctant hero since he finds that he has gravity-defying leaping ability and slightly superhuman strength.
He also finds a lovely princess (Lynn Collins) who has the potential of healing the scars of a tragic Earthly romance. This princess is closer to the soul of Xena: Warrior Princess than any traditional Disney princess.
(Review continues below the following 10-min video scene from the movie.)

“John Carter” may be slightly silly and childish to some moviegoers at times, particularly relative to the globular creature with a dog-like personality that adopts Carter, perhaps reflecting the sensibilities of Stanton’s roots in the likes of “Finding Nemo” and “Wall-E.” And Carter’s leaping abilities and skills at executing them become quickly absurd. But all of that is easily dismissed by those willing to simply experience the movie as a fun piece of big entertainment.

– By Scott Hetrick

The sequel, “Journey 2: The Mysterious Island,” not only boasts digital 3D improved by four years of technology advancements, but it has the added advantage of a presentation on giant IMAX screens, always a significantly heightened visual impact over any other theater experience.

The Warner Bros. Pictures release of a New Line Cinema film that opens Friday in 282 IMAX theaters in the U.S. and another 166 overseas,  is an engaging family adventure, that will especially appeal to young boys who enjoy films such as the “Spy Kids” series.

Daffy Duck in 3D short "Daffy's Rhapsody."

Even before the movie begins, the exhilarating combo experience of IMAX 3D hits audiences literally between the eyes with the always eye-popping IMAX opening logo branding sequence, followed by another fun new computer-animated Looney Tunes short. “Daffy’s Rhapsody” is not quite as fun as some of the recent Road Runner entries, but the 3D is used to maximum effect as Elmer Fudd chases Daffy around a stage as the duck continues singing and performing while dodging the remarkably politically incorrect point-blank shotgun blasts from Fudd’s rifle.

Only Josh Hutcherson returns to reprise his role as young Sean Anderson, this time joining his step-dad (Dwayne Johnson) on a highly unlikely adventure to the fabled Jules Verne island where animals are of reverse size — elephants are the size of small dogs; butterflies are the size of pterodactyls and bees are big enough to fly. There they meet up with Anderson’s heroic adventurer grandfather (Michael Caine) and a father-daughter team (the goofball helicopter pilot played by Luis Guzman, and his strong-willed daughter Vanessa Hudgens of “High School Musical”).
The idea is to traverse the spectacular and danger-filled island to find Verne’s famed Nautilus submarine and make their way back home.

Director Brad Peyton guides the 3D to far great effect here than his notably inferior “Cats & Dogs: The Revenge of Kitty Galore.” The foliage of the island is exploited well, with something always in the foreground to establish clear depth, and the gimmicky scenes of giant lizards and numerous objects extending off the screen are obvious but executed effectively.
As with “Avatar,” there is a far greater sense of immersion in the jungle and the scenes of flying on the back of giant creatures when enjoyed on a giant IMAX screen.

The story itself and the dialogue of “Journey 2″ is of noticeably lower quality than its predecessor, but not to the degree that it will be any test of endurance for parents to enjoy with young children.  It’s of the caliber of the less memorable Disney live-action movies such as “The Cat from Outer Space” or “The Island at the Top of the World,” all of which entertained plenty of audiences at the time, as will this film.

– By Scott Hettrick

The DreamWorks Pictures release distributed by Disney’s Touchstone Pictures was not only far and away the #1 movie of the weekend with $27.3 million in the U.S., it also pummeled its way to $3.2 mil. on 270 IMAX screens, according to IMAX, which is more than 12% of the overall domestic gross and, according to Hollywood.com Box Office, a September/October record at IMAX theaters.

The movie, set about 15 years in the future and featuring an irresponsible  father (Hugh Jackman) and his estranged but precocious son (Dakota Goyo) struggling to build a new relationship while building a robot that becomes an unlikely champion of bot boxing, generated a total of $4.4 mil. at IMAX theaters worldwide, including $1.2 mil. in 62 IMAX screens overseas where the movie grossed $22.1 mil.

Greg Foster, IMAX Chairman and President of Filmed Entertainment, said the forecast for the movie is especially strong since it has yet to open on nearly half of the overseas IMAX screens.

The script is way too precious, the movie way too long at well over two hours, there are way too many blatant product placements, and Goyo is nearly as melodramatic as Ricky Shroder was in the 1979 “The Champ,” but it’s clear why this movie appeals to that target demo, and Jackman and the robot action are both enough fun to keep parents and less discriminating audiences entertained.
And, of course, all of the large-scale boxing action looks even better on the large-format IMAX screen.

Meanwhile, Warner Bros.’ 3D “Dolphin Tale” also appealed to the family audience with another $9.1 mil. as it swims towards $50 mil. in U.S. theaters.

Still another family film, this one also in 3D, “The Lion King,” clawed its way to another $4.6 mil. even after the release of the Blu-ray 3D version of the movie this week, roaring to a total of $86 mil.

– By Scott Hettrick

Now producers are kicking it up another notch by going big with IMAX 3D for the debut of Warner Bros.’ Pictures’ release of the New Line Cinema production of “Final Destination 5” on Aug. 12 in 223 domestic theaters and select international IMAX 3D digital theatres.

“Seeing Final Destination 5 in IMAX 3D will make this an entirely new experience for even the most die-hard fan,” said Warner Bros. Pictures President of Domestic Distribution Dan Fellman. “With the sheer size of the screen and the added intensity of IMAX 3D, this won’t be for the faint of heart.”

In “Final Destination 5,” the next series of grisly deaths forseen seconds in advance by an unsuspecting participant (Nicholas D’Agosto) hits a group of coworkers headed for a corporate retreat when a bridge collapses on them. The unwitting clairvoyant is able to save his friend (Miles Fisher) and girlfriend (Emma Bell) but because they have cheated death, they are constantly on the verge of a new form of disastrous death.

Steven Quale makes his directing debut from a screenplay by Eric Heisserer, based on characters created by Jeffrey Reddick. Producers Craig Perry and Warren Zide return for the fifth time, working with executive producers Richard Brener, Walter Hamada, Dave Neustadter, Erik Holmberg and Sheila Hanahan Taylor.

– 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

Meanwhile, Paramount’s 3D release of Dreamworks Animation’s “Kung Fu Panda 2,” featuring some the year’s most dynamic 3D images in a very cute , ranked fourth in its third weekend with $16.6 mil. for a domestic total-to-date of $126.9 million, and nearly $300 mil. worldwide.
Disney’s 3D movie, “Pirates of the Caribbean: On Stranger Tides,” with very minimal 3D impact but a slightly improved entertainment value over the previous two episodes of the franchise, 3D has surpassed $200 mil. domestically and is closing in on $900 mil. globally after another $10.8 mil. in U.S. grosses.

“Super 8″ feels like exactly what it is, an homage to Steven Spielberg produced by a filmmaker who can create all the elements of his mentor but cannot match the underlying soul or substance of his idol.
But since even Spielberg has been unable to create films in recent years that match his own best work of the 1970s and 1980s, J.J. Abrams offers perhaps the closest thing we’ve seen in a couple decades. Abrams delivers, as usual, on the action and tension of another thriller involving an alien, all of which gets maximum effect from the out-sized IMAX visual presentation and sound system. Adding to the fun is a score full of 1970s pop songs that sound terrific in an IMAX auditorium.
Abrams even manages to evoke terrific performances from young child actors as Spielberg did so often, including a newcomer as his star, Kyle Chandler, and the talented Elle Fanning. And that’s worth paying to see, especially in IMAX, where everything is once again bigger and better, a key asset in a film as big and effects-laden as “Super 8.”

The film is like a best-of Steven Spielberg movie; there is nary a scene that doesn’t immediately remind you of another movie — oh, that’s just like “ET,” that’s a scene right out of “Close Encounters,” there’s “Poltergeist,” “Jurassic Park,” “War of the Worlds.” There are even direct comparisons to non-Spielberg films from “Stand By Me” to “Jeepers Creepers.”
If you liked those movies (and who didn’t?), you’re sure to enjoy “Super 8.”

– 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

Scott Hettrick

Maybe then they will all understand what is missing from mainstream 3D films and what would make audiences feel they are getting their money’s worth from the premium price of a 3D movie ticket.

While the feature-length “African Cats” delivers impressive wildlife photography of adorable and intimidating lions and cheetahs, the 40-minute “Born to be Wild,” directed by David Lickley, is so much more engaging and memorable almost entirely because the orphaned baby orangutans and elephants spend a lot of time frolicking, snuggling, and swinging seemingly inches from us.
The two movies represent one of the best comparisons yet of the dramatic difference in impact between a good movie in 2D versus a good similar-type movie enhanced significantly when presented in the kind of 3D that only IMAX documentarians have been doing so well for decades.
There has yet to be a mainstream 3D movie produced that has had the in-your-face audience immersion of any IMAX 3D documentary, none of which rely on gimmicky shots yet take advantage of the opportunity to create a truly unique experience that fully exploits 3D technology without creating eye fatigue or distracting from the narrative.
It’s a mystery to me why mainstream Hollywood stubbornly resists this approach.
Disney even delayed indefinitely this year’s release of the 3D conversion of the French documentary “OceanWorld 3D.” The Disneynature franchise could benefit enormously and lead the innovation and consumer acceptance of 3D.

“Born to be Wild,” which follows the young animals from the rainforests of Borneo to the savannah of Kenya as they warm to their human rescuers led by primatologist Dr. Birute Mary Galdikas for several years before being rehabilitated and integrated into their natural habitat, is narrated delightfully by Morgan Freeman and presented by IMAX and Warner Bros. Pictures on 207 IMAX screens domestically and at least 18 internationally.

– By Scott Hetrick