IMAX and and Universal Pictures today announced that Steven Spielberg’s epic JURASSIC PARK will return to the big screen with a one-week 3D engagement in IMAX® theatres worldwide simultaneous with the film’s wide release beginning April 5, 2013.

With his remastering of this epic film into a state-of-the-art 3D format, Steven Spielberg introduces the three-time Academy Award®-winning blockbuster to a new generation of moviegoers and allows longtime fans to experience the world he envisioned in a way that was unimaginable during the film’s original release. Starring Sam Neill, Laura Dern, Jeff Goldblum, Samuel L. Jackson and Richard Attenborough, the film based on the novel by Michael Crichton is produced by Kathleen Kennedy and Gerald R. Molen.

“Jurassic Park is the quintessential film for fans to experience in IMAX 3D,” said Nikki Rocco, President of Distribution, Universal Pictures. “Jurassic Park was groundbreaking when it was originally released, and The IMAX 3D Experience® will allow today’s audiences to become fully immersed in one of the most breathtaking epics Universal has ever released.”

“Steven Spielberg’s films resonate uniquely with audiences,” said Greg Foster, Chairman and President of IMAX Filmed Entertainment. “We’re thrilled to offer moviegoers an opportunity to see this fan favorite back on the big screen and transport them – for the first time through the power of The IMAX 3D Experience® – into the world of Jurassic Park.”

The IMAX release of Jurassic Park has been digitally re-mastered into the image and sound quality of The IMAX 3D Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

Visit the film’s official site at http://www.jurassicpark.com/.

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Well, it looks like Hollywood’s marketers are pulling a bit of a fast one this holiday season (not quite a lump of coal in your stocking). Many news pieces and commercials are touting this as a new work from James Cameron (with many references to AVATAR) with direction by Andrew Adamson (of SHREK and NARNIA film fame). The two men are involved (lots of Cameron interviews are used in publicity TV-ready sound bites), but this film is almost a glorified “infomercial”. CIRQUE DU SOLEIL WORLDS AWAY 3D is a “best of” the company’s Las Vegas house shows strung together with a fairly flimsy story/plot. As the film opens a wide-eyed young girl walks past the railroad tracks of her small town and enters a low-rent circus that’s setting up in a vacant field. She catches the eye of a handsome young man helping to set up the big top. Later a sad-faced clown gives the girl a flyer touting their main attraction, the Aerialist. In the main tent the girl recognizes him as the worker with whom she exchanged glances earlier. An accident occurs and both are plunged into a strange otherworldly dimension. The rest of the film concerns their efforts to re-unite while navigating through the odd settings and inhabitants.

And while they try to find each other they take time to watch all manner of gymnastics culled from all the Cirque shows. Skilled athletes perform gravity defying stunts on trampolines, intricate mechanical contraptions, and inclines. And in water. The first third includes lots of precision diving in pools and elevated glass tubs. All in unusual costuming that accents their straining, contorted muscles ( some of theses outfits veer almost into the fetish arena). Most of the music would be at home with a big sci-fi blockbuster while other tunes are from a top 40 jukebox. There’s a piece from the recently closed Elvis-themed show (with bouncing superheroes) and many classic Beatles songs from the Vegas ”Love” show. James Cameron’s crew are able to zoom in on the performers and slow down some of the action to better present the grace of the acrobats. Unfortunately much of the immediacy (and danger) of the live show is lost in a cinema adaptation. Everything’s very colorful and should delight the youngest viewers (the preK set), while some of the preteens may get a tad squirmy, unless they have a penchant for performance and gymnastics. The 3D works best in the film’s opening scenes, but it’s not close to the wonder of HUGO or LIFE OF PI. If you can’t afford to go to one of their permanent shows or the traveling troupe, then this film should satisfy your curiosity about Cirque. But as a film this is more of a tossed together buffet than a banquet. Speaking of meals, you may be better off saving your money in order to hit Sin City, have a great Dinner, and attend, say, “Mystere” as your dessert. Now there’s an evening that’s truly worlds away!

2.5 Out of 5

TOP GUN, Paramount Pictures’ 1986 classic from director Tony Scott, producers Don Simpson and Jerry Bruckheimer, and starring Tom Cruise, takes off on a new adventure with an exclusive six-day 3D engagement in select IMAX® theatres beginning February 8, 2013. The film has been re-mastered for the IMAX® 3D release and subsequent debut on Blu-ray.

TOP GUN was re-mastered for the big screen from high-resolution original negative scans and painstakingly converted to 3D by Legend3D under the supervision of the film’s director, Tony Scott. Rendered in 3D, the film’s complex, long shots reveal extraordinary depth and clarity, allowing viewers to explore every detail of the action. From the spectacular aerial dogfights to the intense close-ups in the cockpits, each frame enables the audience to feel a part of the story.

The story of an elite group of pilots competing to be the best in their class and earn the title of “TOP GUN” captured the imagination of a generation and earned a worldwide box office of over $350 million upon its release. The film stars Tom Cruise as Maverick and Kelly McGillis as his civilian instructor. The film also stars Val Kilmer, Anthony Edwards and Meg Ryan.

The “TOP GUN” Blu-ray 3D disc presents the film with pristine high definition picture and sparkling sound in spectacular 3D for the ultimate home viewing experience. The Blu-ray 2D includes the re-mastered film in high definition, along with a six-part documentary on the making of the movie, a behind-the-scenes featurette, interviews with Tom Cruise, commentary by producer Jerry Bruckheimer, director Tony Scott, co-screenwriter Jack Epps, Jr. and more. The two-disc set available for purchase also includes a digital copy of the film and will be enabled with UltraViolet technology.

From the big top to the big screen, Academy Award®-nominated director Andrew Adamson and visionary filmmaker James Cameron invite audiences on an all-new 3D adventure – CIRQUE DU SOLEIL: WORLDS AWAY. Two young people journey through the astonishing and dreamlike worlds of Cirque du Soleil to find each other as audiences experience the immersive 3D technology that allows them to leap, soar, swim and dance with the performers.

For Cameron, CIRQUE DU SOLEIL: WORLDS AWAY “was a dream come true. I had been talking to them for some time about doing something in 3D because it’s never been done. How lucky to be working with the Cirque family, to have that talent create such an emotional performance for this film. Because their death-defying acts require such incredible skill and nerve, we felt it was so important to show the cabling, everything supporting that human ability.

“We were working with a different stage crew every four days. We did use the live shows and shot both during the live performances and on their dark days. It was cost effective to shoot during the live shows, but we did get the best stuff on dark days because we were able to come in from different angles. We dropped in with our 10 3D cameras and started shooting. But it’s a lot different than just standing back with a ring of cameras and shooting a live show. We were getting in there with the Steadicam, shooting close-ups — in their faces as close as possible — getting into the action because it’s much better for 3D. I lobbied for high camera positions so when you are shooting down you get that sense of vertigo. At times we were shooting from 50 to 100 feet in the air, and you feel the height of these amazing artists performing 90 feet above the floor. You also realize the jeopardy they are in all the time.

“The live experience of these shows is incredible. But in the movie theater, what we can give you is the experience of being right in the middle of a show where you will really get to see the detailed work that’s gone into the characters, the costumes and the choreography. There is pageantry to the live experience, but there is an intimacy to the 3D experience.”

One of the challenges for the filmmakers of Cirque du Soleil Worlds Away was that 3D involves more complicated cameras and technology and thus more time to set up the equipment. Prep also meant meeting strict safety parameters with underwater cameras (avoiding the lethal mix of electricity and water) and camera cranes (out of harm’s way of aerialists and flying objects.)

“There was a lot of hurry up and wait,” notes producer Martin Bolduc, “which is difficult for Cirque performers as their bodies are cooling off and they need a minimum of time to warm up their muscles after a certain period of inactivity.” Still, the shooting schedule was relatively short — 37 days over three time periods: October-November 2010 in Las Vegas, December 2011 in New Zealand and February 2011 again in Vegas. The only CGI used in the film are scenes in the desert when Mia and the Aerialist travel between the tents.

“Twice a day, five days a week the performers do their work,” says Cameron. “When we told them we would make a 3D film that would really capture their commitment to their art, I don’t think these artists really knew what to expect. They were a bit jaded because they do it day after day, year after year. But when it was over and they saw what they do through our eyes they were awestruck. It rejuvenated them.”

The drive to expand and constantly transform from the circus norm is what separates Cirque du Soleil from the pack. Always positioning itself as “nouveau cirque,” it remains theatrical, character-driven entertainment sans animals. From its humble roots on the streets in the early 1980s to an arty version of the big top to the showbiz behemoth it is today with 20 shows around the world, certain elements of the Cirque du Soleil experience will forever remain.

“You will always need your ‘wow,’ your tender moments, your humor,” says Cirque du Soleil owner and co-founder Guy Laliberté, much like the narrative of any great screenplay. But he reminds that Cirque’s conventions are all about hinting at the plot and teasing at the themes. It is there, he says, on the edge of imaginative interpretation that Cirque du Soleil invites audiences to suspend disbelief and step through the looking glass.

Composer Benoit Jutras wrote the score and transitional music between the Cirque shows used in the film. Barton had previously teamed with Adamson on the Shrek and Narnia films, but the director felt it important to have Jutras, who had written scores for some of the Cirque shows used, to adapt and refine some of that music specifically for Cirque du Soleil Worlds Away.

“The music was really the dialogue of this film,” says Jutras. “You see, Cirque du Soleil developed it as a language for its shows, to tell a story with the music and without words. It becomes the universal language.” It was an element that Cameron and Adamson wanted to retain for the film.

“When it came to inspiration for this film’s score,” Jutras continues, “it was about the passage through life and a young woman who falls in love, about how love makes you go through all of these emotions, the colors of love, so to speak. What I wanted to do with the opening act was to make it a very separate experience, to make it as little like Cirque as possible to show the contrast of the old circus and the worlds of Cirque du Soleil. In the final act, since it was part of KÀ, Stephen Barton used that show to inspire the music (of the final act).”

Unique in scope, this immersive experience melds acts from seven live Cirque du Soleil shows in Las Vegas — “O,” KÀ, Mystère, Viva ELVIS, CRISS ANGEL Believe, Zumanity and The Beatles LOVE —into a circus love story produced, written and directed by Academy Award® nominee Andrew Adamson (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe). The film stars Cirque du Soleil strap aerialists Igor Zaripov (The Aerialist) and former artist Erica Kathleen Linz (Mia) as the young couple.

CIRQUE DU SOLEIL: WORLDS AWAY will be in theaters December 21st. This Holiday Season, Cirque du Soleil brings their world to your city!

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Giants! Beanstalks! Magic Beans! Ready for a epic adventure? Watch the Ian McKellen narrated, fantasy-filled trailer for director Bryan Singer’s JACK THE GIANT SLAYER.

JACK THE GIANT KILLER tells the story of an ancient war that is reignited when a young farmhand unwittingly opens a gateway between our world and a fearsome race of giants. Unleashed on the Earth for the first time in centuries, the giants strive to reclaim the land they once lost, forcing the young man, Jack, into the battle of his life to stop them. Fighting for a kingdom, its people, and the love of a brave princess, he comes face to face with the unstoppable warriors he thought only existed in legend – and gets the chance to become a legend himself.

A vast improvement over the teaser trailer we showed you last December when the film was scheduled for a June 2012 release. I really like the tailor-made cast. Nicholas Hoult (X-MEN: FIRST CLASS) as Jack, Eleanor Tomlinson as Princess Isabelle, Stanley Tucci (JULIE & JULIA) as the deceitful Lord Roderick, Ian McShane (PIRATES OF THE CARIBBEAN: ON STRANGER TIDES) as the besieged King Brahmwell, Bill Nighy (HARRY POTTER AND THE DEATHLY HALLOWS) as the giants’ leader General Fallon and Ewan McGregor (THE IMPOSSIBLE) as palace guard Elmont.

Singer reassembled some of the people he likes to work with best for this 3D movie. The screenplay comes from Singer’s long-time collaborator Christopher McQuarrie. The two previously worked on THE USUAL SUSPECTS and VALKYRIE, while the creative filmmaking team includes director of photography Newton Thomas Sigel (X-MEN, SUPERMAN RETURNS) and editor John Ottman (X2, SUPERMAN RETURNS).

Along with scribe McQuarrie, the screenplay is also by Darren Lemke (SHREK FOREVER AFTER) and Dan Studney, with a story by Darren Lemke & David Dobkin. I’m absolutely mad over the look of the film too – the production designer is Gavin Bocquet (STAR WARS: EPISODE III – REVENGE OF THE SITH). Singer filmed his new take on the fairytale on location in and around London.

From Warner Bros Pictures, JACK THE GIANT KILLER stomps into theaters in RealD 3D and IMAX 3D on March 1st.

Visit the film’s official site: http://jackthegiantslayer.warnerbros.com/

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Warner Bros. Pictures and Legendary Pictures announced today that director Zack Snyder’s upcoming action adventure MAN OF STEEL will be presented in 3D in select theaters, as well as in 2D and IMAX, so fans of the iconic superhero will be able to experience the much-anticipated movie in their format of choice.

Snyder stated, “The film is going to be a visually exciting experience in all formats: 2D, 3D and IMAX. Anticipating how audiences today embrace 3D, we designed and photographed the movie in a way that would allow ‘Man of Steel’ to captivate those movie goers, while respecting fans who prefer a more traditional cinematic experience. We’ve taken great measures to ensure the film and the story come first, and 3D is meant as an enhancement.”

The film stars Henry Cavill in the role of Superman/Clark Kent, alongside three-time Oscar nominee Amy Adams (“The Fighter”), Oscar nominee Michael Shannon (“Revolutionary Road”), Academy Award winner Kevin Costner (“Dances with Wolves”), Oscar nominee Diane Lane (“Unfaithful”), Oscar nominee Laurence Fishburne (“What’s Love Got to Do with It”), Antje Traue, Ayelet Zurer, Christopher Meloni, Harry Lennix, Michael Kelly, Richard Shiff, and Academy Award winner Russell Crowe (“Gladiator”).

MAN OF STEEL is produced by Charles Roven, Emma Thomas, Christopher Nolan and Deborah Snyder. The screenplay was written by David S. Goyer, from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Thomas Tull, Lloyd Phillips and Jon Peters are the film’s executive producers.

Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Zack Snyder Film, MAN OF STEEL. The film is slated for release on June 14, 2013 and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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The forecast is sunny side up for Sony Pictures Animation as the studio has reassembled the all-star, comedy voice cast of the animated hit Cloudy with a Chance of Meatballs for Cloudy 2: Revenge of the Leftovers, set for release in 3D on February 7, 2014. The first Cloudy film took in $243 million worldwide. The sequel is directed by Cody Cameron (whose story artist credits include Shrek, Madagascar, Surf’s Up and Cloudy with a Chance of Meatballs) & Kris Pearn (head of story on Cloudy with a Chance of Meatballs and story supervisor on Arthur Christmas) and produced by longtime Sony Pictures Animation producer Kirk Bodyfelt.

The lead voice cast from the first film returns, including Bill Hader (Saturday Night Live, Men In Black 3) as inventor Flint Lockwood; Anna Faris (Scary Movie, The House Bunny) as brainy weather girl Sam Sparks; James Caan (The Godfather, Elf) as Flint’s technophobic dad, Tim Lockwood; Andy Samberg (Saturday Night Live, Hotel Transylvania) as Swallow Falls’ local celebrity “Baby” Brent; Neil Patrick Harris (How I Met Your Mother, The Smurfs) as Steve the gummy bear-loving monkey; and Benjamin Bratt (Law & Order, Miss Congeniality) as Sam’s mild mannered cameraman Manny.  In addition, Terry Crews (The Expendables 2) joins the cast to take on the role of Earl, the town cop.

Cloudy 2: Revenge of the Leftovers picks up where Cloudy with a Chance of Meatballs left off.  Inventor Flint Lockwood’s genius is finally being recognized as he’s invited by his idol Chester V (Will Forte of Saturday Night Live) to join The Live Corp Company, where the best and brightest inventors in the world create technologies for the betterment of mankind. Chester’s right-hand-gal – and one of his greatest inventions – is Barb (Kristen Schaal of Toy Story 3 and 30 Rock), a highly evolved orangutan with a human brain, who is also devious, manipulative and likes to wear lipstick.

It’s always been Flint’s dream to be recognized as a great inventor, but everything changes when he discovers that his most infamous machine – which turns water into food – is still operating and is now creating mutant food beasts. With the fate of humanity in his hands, Flint and his friends must embark on a dangerously delicious mission, battling hungry tacodiles, shrimpanzees, apple pie-thons, double bacon cheespiders and other food creatures to save the world… again!

Commenting on the announcement, Sony Pictures Digital Productions’ President Bob Osher, said, “Cloudy was a tremendous hit acclaimed by critics and audiences alike, and we’re thrilled to be bringing everyone back together for Cloudy 2.” Sony Pictures Animation’s President of Production Michelle Raimo Kouyate added, “Not only are we bringing the old gang back, we are introducing some hilarious new characters in a brand new adventure that matches the wit and freshness of the original.  We have a great story and we love Cody and Kris’s take on the characters and material.”

Columbia Pictures presents a Sony Pictures Animation film, Cloudy 2: Revenge of the Leftovers.  The film is directed by Cody Cameron & Kris Pearn, produced by Kirk Bodyfelt, and executive produced by Cloudy with a Chance of Meatballs and 21 Jump Street directors Phil Lord & Christopher Miller.  Based upon characters from the book Cloudy with a Chance of Meatballs written by Judi Barrett and illustrated by Ron Barrett, the screenplay is written by John Francis Daley & Jonathan Goldsteinand Erica Rivinoja.

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For many years most of the movie going public has associated animation with the hand drawn features of  Walt Disney, like FANTASIA and DUMBO. Younger audiences may think more of the computer-generated features started by Pixar with TOY STORY almost 20 years ago. But there’s another type of animation that’s occasionally used in features, stop-motion animation. Instead of drawing, the artists move a figure ( sometimes a puppet, sometimes clay ) one frame at a time to simulate motion. In Hollywood’s Golden age, this technique was used in the special effects department, first by Willis O’Brien with the original 1933 KING KONG and later by film wizard Ray Harryhausen with his Sinbad series and JASON AND THE ARGONAUTS. Several foreign film makers used this method for short films along with George Pal producing the Puppettoons short series here for Paramount. TV entered with the Gumby shorts and later the Rankin/Bass company produced several popular holiday specials starting with ” Rudolph the Red-Nosed Reindeer”. Eventually RB branched out into feature motion pictures, most notably with MAD MONSTER PARTY. Certainly that film inspired Tim Burton’s hit ( with animator Henry Sellick ) THE NIGHTMARE BEFORE CHRISTMAS in 1993. Since then England’s Aardman Studio released a few features starting with CHICKEN RUN and Sellick followed up with JAMES AND THE GIANT PEACH and CORALINE. Well, the studio that helped produce that last film, Laika Entertainament, has made PARANORMAN, which is another leap forward in the art of stop-motion feature animation. And it’s really, really funny.

The film’s title refers to Norman Babcock ( voiced by Kodi Smit-McPhee ), a pre teen lad with Eraserhead-like hair who has an unusual gift, although sometimes he thinks it’s a curse. It’s not his vertical follicles. Seems he can see and talk to dead people. These spirits just aren’t ready to move on to the next level-they’ve got unfinished business, including Norman’s Grandma’ ( Elaine Stritch ). This causes no end of concern for Norman’s Mom and Dad ( Leslie Mann and Jeff Garlin ) and embarrassment for his older sister, cheerleader Courtney ( Anna Kendrick ). It’s not much better at school where he’s mercilessly picked on by Alvin (Christopher Mintz-Plasse ), although Norman has an ally with chunky outcast Neil ( Tucker Albrizzi ). Their little New England town of Blythe Hollow is preparing for its tri-centennial when its forefathers tried and hanged a woman for witchcraft ( the standard old crone witch icon becomes the town mascot ). One day, outside the school, Norman is approached by his eccentric Uncle Prenderghast ( John Goodman ), who knows about the boy’s gift. He explains that unless Norman reads from a mystical book at the witch’s grave at sunset, her curse will make the dead rise and destroy the town. Can Norman, aided by Courtney, Alvin, Neil, and his jock older brother Mitch ( Casey Affleck ) thwart these supernatural forces ?

To say anything else might spoil the wonderful surprises in this inspired romp. I will say that this is a visual treat from the character design ( so expressive ) to the look of Blythe Hollow ( the witch adorned signage ). You’ll find yourself chuckling even before you hear the witty dialogue. The film begins with a hysterical tribute to low-budget late night TV horror flicks that puts us right in the proper ” spirit ’ for the ensuing hijinks. Those include a clunky school pageant / play about the witch trial directed by an overbearing drama coach ( Alex Borstein ). A later sequence with Norman trying to retrieve the mystical book is superb slapstick that would make Buster Keaton proud. All this before the kids unite to stop the walking dead ( these klutzes are more the walking doofus ) like a junior Scooby Doo gang ( or better yet, THE MONSTER SQUAD ). The action and laughs never let up till the final face-off ( which may be just a tad too serious and confusing ). The last scenes may hammer home the films plea for tolerance of the different tooheavy a hand ( especially when a character’s orientation is revealed ). These are minor quibbles with what is one of this Summer’s very best films ( this has to be a Best Animated Feature Oscar nominee along with BRAVE and, perhaps, the upcoming FRANKENWEENIE ). Like many kid flicks, the adults may enjoy it for the subtle humor that may be over the heads of tykes. So is it okay for the little ones? The smallest may be skittish about the zombies, who look gnarly but are pretty benign ( no muching and noshing ). It all depends on the young individual. At seven I was monster crazy, with my room decorated almost like Norman’s ( another visual treat with posters, toys, toothbrushes, and slippers- I almost expected to see a copy of Famous Monsters of Filmland magazine ). Oh, and the 3D works very well with these stop-motion marvels. So, if your kids can handle some mild scares, take them to movies and share a wild,spooky adventure with Norman and his gang. PARANORMAN is inspired cinema artistry and one of the year’s best comedies.

Overall Rating: 4.5 Out of 5 Stars

Here’s a big Summer release that’s generated a surprising amount of controversy. Usually the hot button films are released in the Fall or Winter to grab some buzz and capture a couple Oscar noms. But this popcorn flick has ignited heated debates among movie and comic book fans. The main question instigating message board dust-ups: Is it too soon to reboot the Spider-Man movie franchise? Well, it was eight years between BATMAN & ROBIN and BATMAN BEGINS. Four years passed between Brosnan’s last Bond, DIE ANOTHER DAY, and Craig’s first 007, CASINO ROYALE. Some fans think five years is way to soon for Spidey, but that’s the amount of time from Eric Bana as THE HULK to Edward Norton as THE INCREDIBLE HULK ( which is the version of the green guy that’s stealing scenes in MARVEL’S THE AVENGERS ). Director of the Spider-Man trilogy, Sam Raimi, took a pass on doing a fourth ( he, like most fans, found SPIDER-MAN 3 more than a bit lacking , so he didn’t want to rush a script ). With Raimi out, stars Tobey Maguire and Kirsten Dunst took a pass. So for Sony Pictures it was ” Spider-Man Begin Again” ( almost the title of this new film ). Now the debate is moot. Director Marc Webb’s ( no kiddin’ with the last name! He also made 500 DAYS OF SUMMER ) THE AMAZING SPIDER-MAN swings into theatres just in time for the big July Fourth holiday. Yup, the flick’s a done deal. The only thing to discuss now is this particular film’s merits. Does it stand ( or wall-crawl ) on its own?

Right off the bat ( no, his flick comes out July 20! ) we see Peter Parker in a new light. Actually he’s a young lad of eight when the film starts and he’s whisked away by his parents, Richard and Mary ( Campbell Scott and Embeth Davidtz ) to the home of his Uncle Ben ( Martin Sheen ) and Aunt May ( Sally Field ). Cut to Midtown high schooler Peter ( Andrew Garfield ), a science prodigy raised by Ben and May. Cleaning out the basement, he finds Richard’s old briefcase. Seems that Dad worked as a research scientist as the megalithic Oscorp company alongside Dr. Curt Conners ( Rhys Ifans ). Pete bluffs himself into an intern group at he company, but he’s almost given away by the group’s intern tour guide, Midtown’s other whiz-kid Gwen Stacy ( Emma Stone ). He wanders away from the group, speaks with Conners, and suffers an injury in one of the research rooms. Said injury has a profound effect on Peter who discovers that he has amazing powers. When tragedy strikes he uses these enhanced abilities ( along with a home-made suit and mask to hide his identity ) to fight evil as Spider-Man. Visiting the home of Conners, Peter innocently helps him unlock the key to accessing animal DNA ( the doc hopes to regenerate his lost arm like a reptile ). When the Oscorp higher-ups threaten to try his formula at a veteran’s hospital ( they’ve gotta’ make sure it works before the serum is givento their dying boss, the mysterious Norman Osborn ), Conners decides to be the test subject. Meanwhile major stuff’s happening to Pete aside from his crime-fighting gig. He begins a tentative romance with Gwen that’s complicated when he learns that her father is a police captain ( Denis Leary ) determined to arrest a certain wall-crawling vigilante. Soon all their lives converge when NYC is threatened with annihilation.

Another bit of controversy swirling about the film is the origin story and, yes, as I hinted previously, we get the origin story once more. Sure it’s been 10 years since the first Raimi film told it masterfully, I believe it was needed for the start of this new franchise ( we’ll have to see if audiences respond positively to this flick,or it’ll be rebooted once more ), and it’s not a note for note rehash. Comic book purists may cry foul at the liberties taken with that classic tale from Amazing Fantasy #15, but it makes harder connections to the events portrayed in this new film. Peter’s destiny has a tighter link to his parents and to the shady deals at Oscorp. Hopefully this chain of events will provide an interesting conspiracy in follow-ups. This also keys into the darker aspect of the new film. Spidey is almost always operating during the night hours ( like that guy from Gotham City ). Danger lurks at every shadow, not only from criminals but from the law. While in the original trilogy the police gave the web-head a wink and a pass, here all officers are determined to bring him down by any means. This Big Apple isn’t the bright shiny place we’ve seen our hero bouncing from place to place before.

Another big beef is the film’s villain. Frankly I was pleased that the producers went with a single bad guy, even though Spidey has perhaps the best rouges gallery in comicdom ( sure the Joker’s the greatest comic book criminal ever, but after Catwoman, Clayface,  and Two-Face the other Gothamites are kinda’ silly ). This was one of the main problems with the dismal SPIDER-NAN 3 which paired the Sandman and Venom ( this may harken back to the paired bad guys in BATMAN RETURNS ). Several comic fans don’t like the look of the Lizard. They may be more accustomed to the large snout that artist Todd MacFarlane drew, but this design is closer to that original Steve Ditko look. Also the film version is bulked up…considerably, almost to the point of being a scaly Hulk. Several times he grabs Spidey and flings him about like a rag doll. The Lizard’s a formidable foe, but the human element is what makes him tick. Like screen villains the Green Goblin and Dr. Octopus, Conners wishes to benefit humanity, and he’s got a personal connection to Peter ( the connection to the Sandman seemed incredibly forced in 3 ). After their first couple of encounters Peter and Connors respect each other, so Peter struggles to stop the monster without killing the man inside. Ifans does a great variation of the classic Jekyll and Hyde character as a decent man forced to make a very bad decision. Although his face is surrounded by CGI scales ( I’ll bet a motion-capture suit was used ), Ifans brings a great deal of humanity to this ‘ beastie’.

Ifans is not the lone stand-out in this terrific supporting cast. Leary treads a fine line between being a committed law-enforcement officer and a sentimental father. His comic timing is put to great use in the Captain’s run-in with Pete ( particularly at a tense family dinner ). This blustery demeanor provides many welcome laughs and makes the character’s change of heart more poignant. Speaking of heart, Sheen and Fields have tons to spare as Peter’s adoptive parents. They’re a bit younger than Robertson and Harris from the Raimi films ( this helps with the opening sequence ), but have just as much warmth as the previous actors. Sheen even gives Pete a big ole’ dose of tough love that’s tempered with his considerable screen charm. Fields’s role is not as showy, but she really conveys the caring mother role when stunned by all the cuts and bruises adorning Pete’s face when he returns home after his night patrols. Now this is a couple that would raise a hero, super-powers or not.

Speaking of heroes, the movie soars or plummets based on the fella’ in the title. And his love interest, to a great extent. Garfield’s Parker is very different from the previous screen incarnation. Before the bite, this Pete’s a bit of a rebel ( skateboarding in the school hallways! ) and pro-active. He even steps in to stop a bully ( and gets his skinny posterior handed to him ). This is a darker, conflicted Parker ( we can still see that sad-eyed child watching his folks dash into that rainy night ). After getting on the radar with terrific work in THE SOCIAL NETWORK, this is the film that will establish Garfield as a great movie star. While Maguire was a terrific nerdy Peter Parker from those early comics, Garfield is that wiseacre with a mask ( quick with a quip and an uppercut ) that we’ve loved all these years. And when he’s on the ground, there’s a very special lady ( played by a very special actress ) that makes his spirit soar. Stone can now add super-hero action flick to the list of film genres that she’s conquered. Her Gwen is smart ( pretty much Pete’s intellectual equal ), fiesty, funny, and so adorable in those outfits inspired by John Romita’s comic art designs. While Dunst’s Mary Jane wasn’t much interested in the pre-powers Pete, Gwen falls for that photo-takin’, science geek almost immediately ( or at least soon after that bullying incident ). Bryce Dallas Howard was brought into that murky SPIDER-MAN 3 as a younger threat to MJ, but in the comics Gwen was Pete’s first, pure true love. Garfield and Stone truly sizzle on screen ( Stone reallyinspire her co-stars to bring their A game), so it’s no big shock that they’re dating off set. The gamble to put the director of  500 DAYS OF SUMMER really paid off. Turns out Webb can do the big action stuff, but he truly excels at presenting the exhilaration of first love. The battles are great ( still can’t top the fights with Doc Ock in SPIDER-MAN 2 though ), but the romance is what makes this a superior Summer cinema spectacle ( pardon the Stan Lee-isms! )

So, is it worth seeing in 3D? Well it was shot in the format, so the swinging stuff works well along with the over-the-skyscapers shots. A big complaint from the first Spidey flick was that he bounced around like a video game character. Instead of relying too much on CGI, Webb tried to work more with stunt people to do the web-swinging live whenever possible. I’ve only a few problems with this re-telling. It seems the writers really went out of their way to present scenes where Spidey takes his mask off ( this was a sore point in Raimi’s trio ). I know it helps the audience connect with the actor ( his expressions aren’t hidden ), but it’s strange to see the character so exposed. This does work well for a scene when a child his rescued by our hero. Now, about that outfit, the film-makers have taken that great Ditko design ( which Raimi adhered to pretty closely ) and made it way-too busy and intricate. Guess I’m too much of a purist, but I hate seeing blue on the fingers of the gloves! AArgrrr ( as they say in the funny books )! Do like how the mechanical wrist web-shooters ( no organic spinnerets! ) work with the suit. Oh, and the film could use a good 5 minute trim ( but wait for the mid-end credit bonus scene ). Aww, no more nit-pickin’! Like last Summer’s X MEN : FIRST CLASS, THE AMAZING SPIDER-MAN takes a comic book property that we all thought had exhausted its movie possibilities and returned it to cinematic glory. It doesn’t surpass MARVEL’S THE AVENGERS for super-hero movie glory, but it’s miles above SPIDER-MAN 3. THE AMAZING SPIDER-MAN proves that  there’s still plenty of life ( and love ) left in that 50-year-old web-slingin’ wise guy. Really amazing, indeed!

Overall Rating: 4 Out of 5 Stars

Ada Wong (Li Bing Bing, LEFT) and Alice (Milla Jovovich) walk down the NY Street in these new photos from Screen Gems’ action horror RESIDENT EVIL: RETRIBUTION.

The wildly successful film franchise adaptation that has grossed nearly $700 million worldwide to the popular video game series, Resident Evil, returns in its highly anticipated fifth installment, RESIDENT EVIL: RETRIBUTION, written and directed by Paul W.S. Anderson, in state-of-the art 3D.

The Umbrella Corporation’s deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human race’s last and only hope, ALICE (Milla Jovovich), awakens in the heart of Umbrella’s most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex. Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by newfound allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun.

The film stars Milla Jovovich, Michelle Rodriguez, Sienna Guillory, Kevin Durand, Shawn Roberts, Colin Salmon, Johann Urb, with Boris Kodjoe and Li Bing Bing. RESIDENT EVIL: RETRIBUTION will be in theaters September 14, 2012.

Visit the film’s official site: http://www.residentevil-movie.com/

“Like” on Facebook: https://www.facebook.com/ResidentEvilMovie

Follow on Twitter: @ResidentEvil  #ResidentEvil

Get Recruited: http://www.umbrellacorporation.net/index.php

From 20th Century Fox comes a new featurette for PROMETHEUS. Director Ridley Scott has created a new mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey, aboard the spaceship Prometheus, to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race from an indigenous race of bio-mechanoid killers. “After you’ve seen Prometheus,” Scott says, “you will have experienced something completely unexpected.”

Next Thursday (May 31) you can watch the live stream of the PROMETHEUS Red Carpet Premiere from London. Verizon will host the stream in the US on its Verizion FiOS Facebook page, while fans across the globe can access the stream here -  http://www.live.prometheusmovie.com/.

PROMETHEUS arrives in theaters June 8.

Visit the official site:  http://www.projectprometheus.com/

“Like” it on Facebook:  www.Facebook.com/prometheus

Follow the film on Twitter:  @PrometheusMovie

YouTube:  www.youtube.com/Prometheus6812

IMAX, in partnership with Indomina Releasing, today announced the release of Bona Film Group’s blockbuster FLYING SWORDS OF DRAGON GATE,  starring Jet Li, for an exclusive, limited engagement across North America in September in the immersive IMAX® 3D format.

Acquired for North American release by Indomina, the motion picture distribution arm of The Indomina Group, FLYING SWORDS OF DRAGON GATE is the first Chinese-language film to be released in the IMAX® 3D format and the fourth-highest grossing Chinese-language film of all time.

“We’re delighted to be working again with Bona and Tsui Hark and to release their newest film, FLYING SWORDS OF DRAGON GATE,” said Indomina Group Vice Chairman and CEO, Jasbinder Singh Mann. “It’s an ideal fit for Indomina – just as IMAX is the ideal movie-going experience for the film. Audiences are in for a real treat when they see this Chinese martial arts masterpiece on the IMAX screen.”

“We are honored that IMAX is a platform to showcase the best in locally-produced Chinese films to audiences around the world,” said Greg Foster, IMAX Chairman and President of Filmed Entertainment. “Together with The Indomina Group and Bona Film Group, we are offering North American fans of Chinese martial arts films this rare opportunity to experience one of the biggest Chinese blockbusters of all time in the most immersive format available – IMAX.”

“We’re thrilled to have partnered with director Tsui Hark and IMAX in producing the first-ever IMAX 3D Chinese-language film,” said Dong Yu, Founder, Chairman and CEO of Bona Film Group. “The success of the film in China has proven once again the huge potential of the China market, and has also demonstrated the sophistication of Chinese filmmakers in mastering the latest filmmaking technologies and techniques. We’re absolutely excited that this unprecedented experience of Chinese cinema will soon be brought to North American audiences through The Indomina Group with their passion and marketing clout for Asian cinema, and the support of IMAX.”

Since the film’s December release in China, FLYING SWORDS OF DRAGON GATE has earned approximately $86.5 million at the box office, of which approximately $10.6 million was generated in 61 digital IMAX® theatres across China. The film set a new record for a Chinese-produced movie released in the IMAX format and became the fourth-highest grossing IMAX DMR® title in China behind Avatar, Transformers: Dark of the Moon and Titanic 3D.  The film also won five awards at the 31st Hong Kong Film Awards held on April 15, including Best Action Choreography, Art Direction, Editing, Visual Effects and Sound Effects.

FLYING SWORDS OF DRAGON GATE: An IMAX 3D Experience reunites renowned director Tsui Hark with his Once Upon a Time in China leading man, Jet Li, and also stars Zhou Xun, Aloys Chen Kun, Gwei Lun-Mei, Li Yuchun and Mavis Fan. It also reunites Tsui Hark with Indomina after their successful collaboration on last year’s Detective Dee and The Mystery of the Phantom Flame.

FLYING SWORDS OF DRAGON GATE: An IMAX 3D Experience is digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology for presentation in IMAX 3D. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique immersive environment that will make audiences feel as if they are in the movie.

About Flying Swords of Dragon Gate

Zhao Huai’an, a Ming Dynasty general played by Jet Li, finds himself at odds with Yu Huatian (Aloys Chen Kun), an evil, power-hungry eunuch. Eventually, these two adversaries cross paths with Ling Yanqiu (Zhou Xun) at the titular Dragon Gate Inn, a remote outpost in the desert at the very frontier of the kingdom.

” I’d like to speak with you about the Avengers Initiative ”. Can it really be four years ago that SHIELD director Nicholas Fury ( Samuel L Jackson ) spoke those fateful words to a surprised Tony Stark ( Robert Downey, Jr. ) at the end ( the very tail end, after the final credits ) of IRON MAN ? Marvel fans around the globe were ecstatic. The fabled comic book company was now in the film business ( other characters were licensed to other studios )  and Jon Favreau’s rollicking action hit was the first in their partnership with Paramount. With this bit of dialogue, were they announcing their intentions to team up some of their greatest heroes in one massive movie event? Fans were teased again later that Summer when Stark strode into the bar where General ” Thunderbolt ” Ross was drowning his sorrows at the end of THE INCREDIBLE HULK. Expectations rose two years later with IRON MAN 2 which ended with SHIELD agents in the desert surrounding a huge hammer protruding from the earth. The next Summer saw more Marvel superstars headline their own feature films: THOR and two months later, CAPTAIN AMERICA : THE FIRST AVENGER. The principals are all introduced, and now, finally, it’s time for Earth’s mightiest heroes to gather with a hearty ” Avengers assemble! ” Hold on to your popcorn!

Before we settled into our cushy theatre seats let’s take a look back at the comic book roots of this team. Legend has it that, in the early 1960′s,  Atlas ( Marvel’s precursor ) publisher Martin Goodman was on the golf green with the head of his publishing competitor National Periodicals ( now DC Comics ). Martin supposedly overheard the man bragging about the big sales on his new book ” The Justice League of America”, about the adventures of a team of their biggest heroes including The Flash and Green Lantern. He made a mental note and instructed his comics editor Stan Lee to come up with a group of super-heroes. Ah, but it was not the start of the Avengers yet! Stan came up with the Fantastic Four along with artist extraordinaire Jack Kirby and so began Marvel Comics. Over the next few years several more characters were added to Marvel’s roster and Stan was finally ready to do his take on the Justice League. In the first issue of the Avengers back in 1963, Iron Man, the Hulk, Thor, Ant Man, and the Wasp joined forces to stop a plot by Thor’s treacherous sibling Loki. Gathering at Tony Stark’s NYC mansion, the group announced their ‘tentative” partnership ( that Hulk was a wild card! ). Sure enough, two issues later, ole’ Greenskin has joined forces with Prince Namor, the Sub-Mariner to take on his former team mates. Traveling back home via submarine after the battle, the heroes spot a frozen figure of a man floating at sea in the landmark fourth issue adventure “  Captain America Joins the Avengers ”. Cap became an important Avenger and with issue 16 he was the group’s leader. In ” The Old Order Changeth”, Stan had decided to replace the other members because it was too difficult to co-ordinate their solo stories with the group’s exploits ( Cap’s solo stories in Tales of Suspense were set in World War II ). Bucking tradition, the new Avengers were former villains : Quicksilver and the Scarlet Witch from the X-Men stories along with Iron Man nemesis Hawkeye. Since then heroes have joined and taken leave as the book continues to be one of Marvel’s best sellers. So much so, that when the company decided to create the Ultimate line with younger versions of their established titles, The Avengers were revamped for this alternative universe. Here the team was formed by the head of the secret hi-tech spy agency SHIELD, Nick Fury to battle an alien invasion.

For the new film, elements of both versions of the team are combined. Several theatres are holding Marvel marathons prior to the premiere in order to get fans up to speed. Without revealing too much I’ll try to do the same without 12 hours straight at the multiplex. as the epic begins, Thor’s evil half-brother Loki ( Tom Hiddleston ), who survived the collapse of the Rainbow Bridge at the conclusion of THOR, is conspiring with the inhabitants of a dark, desolate planet ( and, as the film makers have strongly stated previously, these are not the Kree and Skrull races from the Marvel Comics universe ). Loki believes he’s found a way to transport to Earth and open a portal for the aliens’ invading army. Back on planet Earth, Nicholas Fury, aided by Agents Maria Hill ( Cobie Smulders ) ,vet of three Marvel movies Phil Coulson ( Clark Gregg ), and Clint Barton AKA Hawkeye ( Jeremy Renner, who had a brief cameo in THOR ), is overseeing research headed by Professor Selvig ( Stellan Skarsgard, also from THOR ) on the mysterious white-glowering cube called the Tesseract ( a powerful Asgardian power source retrieved from the ocean’s floor by Tony Stark’s father in CAPTAIN AMERICA : THE FIRST AVENGER ). Chaos erupts at the SHIELD facility as the cube opens a window that unleashes Loki. As the demigod escapes with the cube, the professor, and several entranced agents, Fury decides to enact the Avengers Initiative. Assembling the team is not an easy task. Coulson calls on Tony Stark as he’s setting up house with Pepper Potts ( Gwyneth Paltrow ) at the brand spanking new NYC headquarters of Stark Industries. Natasha Romanoff AKA the Black Widow ( Scarlett Johannson ) is pulled off her current mission in order to track down and retrieve Dr. Bruce Banner ( Mark Ruffalo ). Seems the Tesseract gives off a Gamma radiation signature and , uh…SHIELD may have need for Banner’s furious green alter-ego. Fury himself reaches out to Steve Rogers AKA Captain America, who’s not been eager to enter the modern world after nearly 70 years in icy suspended animation. Together the heroes, soon joined by the mighty Thor ( Chris Hemsworth ), have to overcome their differences ( and strong personalities ) and work as a team in order to track down the cube and prevent Loki and his alien forces from enslaving humanity. No time for a group orientation reception with these super-folks!

For a film so stock full of big characters ( and some who’ve starred in solo flicks ), it’s astounding that the actors still get individual moments to shine. The biggest gun ( with two features under his metal belt ) is Downey who’s still full of surprises as Stark. Of course we get the snarky attitude and tossed-off one-liners ( he’s got great nick names for his team mates ), but we get some more of his romantic side that we saw in the first Iron Man flick. He’s got a terrific rapport with Paltrow ( almost like a Tracy and Hepburn or Loy and Powell from the Thin Man movie series). Their playful banter is always a welcome bonus in this action extravaganzas; We also see Stark’s bravery and determination when they suffer a personal loss. Hemsworth acts the role of the thunder-god with great energy and bravado. He’s happy to get to know these Earth dwellers once more. Evans as Cap is not the morose warrior still battling WWII that the comics portrayed in many of those early stories. Cap embraces these new wonders and quickly takes command on the battlefield just as he did int he 1940′s. He even gets to crack a few jokes! New to the role of Bruce Banner after Eric Bana in Ang Leee’s HULK ( not officially part of the Marvel movie-verse ) and Ed Norton in THE INCREDIBLE HULK , Ruffalo combines elements of the two actors along with Bill Bixby’s David Banner from the TV series. He’s strong, quiet, sensitive, and intelligent while keeping a tight lid on his emotions. I like that the Hulk is a separate person in his mind ( ” the other guy ‘ ). As for that guy, the effects people have done a terrific job on him. He’s a good cross of the Bana ” Shrek on steroids ” and the ” vein-y”, tiny- torsoed Norton Hulk. When ole’ ” Jade-Jaws ” finally enters the film at midway point, he almost steals every scene.  Back at HQ, the team’s guided by Jackson’s Fury. He’s a strong fighter with a lot of weight on his shoulders. Not only must he unite the team and kept track of Loki, he must answer to his mysterious bosses ( the real powers behind SHIELD ). The wiley Fury’s not above massaging the truth in order to placate his superiors and inspire his forces. As for his main agents, Gregg is once again a delight as the efficient Coulson. In a very funny bit of business, he’s almost sidetracked by his ” man-crush ” on Rogers ( he’s got a mint set of Captain America trading cards! ). Renner’s Hawkeye is more of an enigma. He’s SHIELD’s expert sniper and exhibits that loner mentality as he observes the cube experiments from a distance, hidden in the shadows. Until he joins the Avengers, the only other agent he connects with is the Black Widow. Johansson was first introduced in the role in IRON MAN 2 and this is her best screen work in quite a while. Thanks to the film’s talented screenwriter/ director we get some insight as to how she got her deadly code name. She’s no damsel in distress, but an expert interrogator along with her considerable fighting skills. Skills needed in bringing down Loki. Hiddleston expands on the deceitful, cunning villain from THOR. He relishes the idea of being worshipped by conquered earth people and will not hesitate snuffing out dessenters. Loki’s unabashedly, gleefully evil. As far as comic book movie bad guys he doesn’t reach the stellar heights of Heath Ledger’s amazing Joker, but he’s a more than worthy adversary for this movie ” dream team “.

When talking earlier about the Black Widow I alluded to the film’s talented co-screenwriter/ director. The greatest triumph of the film may be the emergence of a new, film power player: Joss Whedon. Of course we fans of the Whedonverse ( referring to his TV shows ” Buffy the Vampire Slayer “, its spinoff ” Angel “, ” Dollhouse”, ” Firefly” and the feature film sequel SERENITY, the internet sensation ” Dr. Horrible’s Sing-a-Long Blog “, many comic books and a co-writing credit on the recent CABIN IN THE WOODS ) have been singing his praises for years, since he was a major ” script doctor ” on films like TWISTER and an Oscar nominee for co-writer on the original TOY STORY. He’s done an amazing job juggling all these characters and never letting the big action set pieces overwhelm the actors. So, of course, Buffy’s Dad would help us really get inside the Widow’s head. As for those set pieces…they’re pretty fantastic. Unlike many big action-fests, you can always understand what’s going on.  The editing flows. This really helps when Cap’s taking on the alien army on ground level. Whedon also upholds a a great tradition from the comic source material that really spotlights the contrast between Marvel and DC comics. When two DC heroes meet it’s, ” What brings you to Central City, Green Lantern? ” ” Why, I’m trying to track down Sinestro, Flash! ” followed by a hearty handshake. Over at Marvel, it’s immediately throw-down time! With Whedon involved, it goes without saying that there’s lots of laughs  packed in with the mayhem.

The movie is being presented in 3D, but I don’t think it’s essential to view it in that format. It’s a good upconvert ( like the Cap solo movie ), but aside from some big gun barrels, Loki’s power staff ( get yer’ minds outta’ the gutter! ), and hovering spacecraft the extra D doesn’t add much to the big battles. The movie slows a bit when the principals bicker in a meeting room ( what is this? Super-reality TV ? ), but it soon picks up speed and never lets up till the end credits roll ( that’s a fast 140 minutes! ). Speaking of end credits, the Marvel movies have a tradition of taking on a final bonus scene after the final credit. This time they’ve placed it at the midway point ( as did last Summer’s THE GREEN LANTERN ). Your enjoyment of it may depend on how big a Marvel comics fan you are. But you should stay and see all the folks that worked on it! They did a spectacular job ( Kudos again on the Hulk. It’s the green giant we fans have been wanting to see in the movies )! The meeting of the Marvel movie universe and the Whedonverse has produced a superior screen entertainment that is a high water mark for future comics based films. Hey Nolan-Batman and rebooted Spidey! You’ve got a very tough act to follow! Avengers ( and movie-lovers ) assemble!!

UPDATE : I’ve gotten reports that there is a bonus scene after the final end credit ( in additon to the mid-credit scene I mentioned above ) !

Overall Rating : Five Star-spangled Shields, Five Uru Hammers, Five.. aww, Face Front, True Believers! 5 Out of 5 Stars

Dan Fellman, President of Domestic Distribution, Warner Bros. Pictures announced last week that the first-ever full length, theatrical LEGO® movie will open nationwide on February 28, 2014.

Currently in production, the 3D computer animated adventure will be directed by Phil Lord & Christopher Miller from their original screenplay, story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO Construction Toys. It will incorporate some of the LEGO world’s most popular figures while introducing several new characters, inviting fans who have enjoyed the brand’s innovative toys and hugely popular video games for generations to experience their visually unique LEGO world as never seen before.

Phil Lord and Christopher Miller previously teamed on the hit “21 Jump Street” and the 2009 animated comedy adventure “Cloudy with a Chance of Meatballs,” which was nominated for a Golden Globe Award.

The film will be produced by Dan Lin (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”) and Roy Lee (“The Departed,” “How to Train Your Dragon”).

LEGO, its logo, brick & knob configuration and the Minifigure are trademarks of The LEGO Group. ©2012 The LEGO Group. All rights reserved.

*** Fair warning, this review may contain some very, very MINOR spoilers. ***

It’s a rare thing that a sequel surpasses it’s predecessor, and in the case of WRATH OF THE TITANS, the theory wavers slightly. CLASH OF THE TITANS (2010) was a remake of the 1981 Ray Harryhausen classic that had action and lots of CGI special effects but did little to honor the original, nor did it compare to the thrill and excitement the 1981 original still offers fans. With this sequel, loosely based on the the 1981 screenplay written by Beverley Cross, who also wrote the 1981 original CLASH OF THE TITANS, the film ponies up a more fluid story with better special effects, but the pacing differs greatly from the 2010 CLASH OF THE TITANS.

WRATH OF THE TITANS takes place a decade after Perseus (Sam Worthington) defeated the Kraken. Having turned down his god-father Zeus’ offer to rule by his side from Olympus, the demi-god [half human/half god] Perseus now attempts to live a normal, human life with his son in a small village. Perseus devotes his life to his son now, but when Zeus returns asking for Perseus to fight once more to save the world, Perseus sticks to his guns and stays with his son… at first. Perseus doesn’t realize the severity of his father’s need for his help.

Meanwhile, in the realm of the gods, Hades (Ralph Fiennes) has something up his cloak and is secretly plotting to dethrone Zeus (Liam Neeson) and free their father Kronos from the prison within which Zeus and Hades once confined him. The key to this story is that the gods are growing weaker as humanity no longer prays to them, which means the safeguards they have placed in the world to protect humanity weaken along with their power, threatening to unleash the Titans on the world. This is bad news, but it takes nearly losing his father to bring Perseus around once more and step into his big boy shoes to save the day for all mankind.

WRATH OF THE TITANS is directed by Jonathan Liebesman, who’s last outing was in last years BATTLE LOS ANGELES, a film I would describe as great looking but story lacking. While the story itself was a plus in WRATH OF THE TITANS — and it did look great, with cinematography from Ben Davis — I do see some pacing similarities between the two films. Both have some extremely intense action sequences that are well constructed, but the time spent between these high-octane moments tends to falter a bit, losing some of the momentum, requiring a fresh buildup to the next round of excitement, acting as a slow, unnecessary buffer.

Sam Worthington has hair this time around, which I consider a good thing. His quasi-miliatry buzz cut from CLASH OF THE TITANS always bothered me, as if he just came off the set of AVATAR to shoot CLASH. Leading man aside, the cast was one of the high points in this sequel. Neeson and Fiennes aside, both of whom were naturally enjoyable, Danny Huston returns for a short time as Poseidon and Edgar Ramirez plays Ares, the god of war. Queen Andromeda features a new face, played this time around by Rosamund Pike, replacing Alexa Davalos.

However, the real acting treat in WRATH OF THE TITANS comes from Bill Nighy, who plays the “fallen one” Hephaestus and whom serves a vital role in the quest of Perseus. Nighy, a veteran actor not unaccustomed to fantasy and genre films, is usually a fan favorite, from his roles in SHAUN OF THE DEAD to the UNDERWORLD franchise. Covered in long, gray hair and a ratty beard, it’s difficult at first to recognize the actor, especially when he attempts to disguise his voice, but the tell-tale vocal trademarks and mannerisms do still shine through, resulting in a pleasant “hey, I know him” epiphany. Nighy delivers a fun time in the middle of a movie that mostly takes itself very seriously.

As I mentioned, the special effects are better in WRATH OF THE TITANS than in the CLASH remake. From the monstrous double-bodied soldiers called the Makhai, wielding a relentless onslaught of death and destruction onto the human army, to the fire-breathing bat-dog things and the Chimera, a small band of giant Cyclops, the creature design and effects are the true stars of the film. In this way, WRATH feels like a Harryhausen film, but not it’s equal. Kronos, in particular — albeit lumbering and slow — is quite the eyeful of coolness and scary to boot when you consider what he is and what it would be like in real life. The one creature design I was disappointed in was during the labyrinth segment — a very well designed segment, I might add — when Perseus confronts the minotaur, which I felt lacked greatly, resembling little more than THE GOONIES’ Sloth with horns stuck to his head.

Overall, WRATH OF THE TITANS is a solid film, a true summer blockbuster that will draw crowds and makes lots of money. WRATH is slightly more accomplished than the CLASH remake, enough so to be noticeable and enjoyable. Perhaps it was just me, but beware the down time between the action sequences. These would be good times to sip freely from your caffeine tank, nestled closely in your cup holder. Finally, I suppose I’ll mention the ever present 3D, which is a far cry better than the virtually non-existent 3D of CLASH OF THE TITANS, rendered pointlessly in post-production. The 3D is there in WRATH, visible and effective, if you’re into the blatantly self-conscious, somewhat gimmicky style of 3D in film. My recommendation — as usual — go old school and see the film in 2D.

Overall Rating: 3 0ut of 5 stars

“George Lucas is going to be sooo pissed!” This was the first thought that popped into my head after seeing JOHN CARTER. That is, until I realized he has no reason to get upset. Whether or not you’re familiar with the source material, it will become abundantly clear that Lucas drew a great deal of inspiration for his STAR WARS saga from A PRINCESS OF MARS, a science-fiction novel written by Edgar Rice Burroughs. In fact, once JOHN CARTER hits DVD and blu-ray, picking out the familiar STAR WARS bits would make one hell of a drinking game.

Long story short, director Andrew Stanton only steals back from Lucas what he stole from Burroughs in the first place. I say stolen in a purely playful manner, as is this incredibly fun, if not entirely perfect science-fiction action/adventure film that is one part Indiana Jones, one part STARGATE, and many parts STAR WARS in it’s visual appeal, story structure and even with it’s character development, in many cases. JOHN CARTER may have been officially derived from the original Edgar Rice Burroughs story, but the concept has had plenty of attention through the years, from the original novel and other books that followed, a magazine serial, television series and comic books.

Andrew Stanton, best known for directing the Pixar hits WALL-E and FINDING NEMO, makes his live-action debut with Disney’s CGI blockbuster JOHN CARTER, which they have allegedly spent upwards of $250 million or more to bring to life. If this is true, I fear Disney may have a box office financial flop, even if the film proves to be a popular pre-summer release. In all honesty, it will take a small miracle for the film to break even, but do your part and give it a chance for having the balls to beckon your hard earned bucks before the summer season officially begins.

Taylor Kitsch plays the legendary John Carter, a ruggedly handsome man in his twenties who stumbles upon a gateway between Earth and Mars, leading him into the adventure of a lifetime that will change the course of not one, but two worlds. Kitsch, perhaps best known as Tim Riggins to FRIDAY NIGHT LIGHTS fans, isn’t terribly recognizable beyond that somewhat cult following. Stanton is taking somewhat of a chance with a relative unknown in the leading role, but I’m sure it did shave a few million dollars off the total production cost. Kitsch presents himself on screen as the young Indiana Jones type, but with a bit more old west in his swagger. I am fairly certain there is a moment when explaining his name to the locals that he whips out a John Wayne impersonation, but it happens quickly, so don’t nod off.

JOHN CARTER is no lavishly written masterpiece of flashy dialogue or deep philosophical prose. This shows in the film, but what the film lacks in textual tact it gains in a pleasantly pulpy atmosphere and tone that makes the entire experience that much more fun. Sure, go ahead and see the film in 3D. As much as I oppose the current trend, this is the kind of film 3D is really meant for and it actually works fairly well. No gimmicks, the 3D is fully integrated and never really bares itself so blatantly as to pull the viewer from the story. As was certainly the style of pulp literature of its era, JOHN CARTER has moments of embellished heroism and sappy romance, but I encourage you to play along and enjoy the ride. One of the most fantastically absurd but equally rewarding moments is when John Carter takes it upon himself to prove his valor and worth to Dejah Thoris (Lynn Collins), single-handedly facing a massive horde of grumpy, savage four-armed Tharks with his name on their blades. This scene is over the top, absurd, and entirely satisfying.

Without going into any great detail, JOHN CARTER follows an otherwise insignificant former Confederate Captain as he is whisked away to Mars and becomes a legend, courtesy of a certain variance in the laws of physics. The CGI in the film is vast and ever present, from the light ships and towering architecture to the arid landscape and especially the character design. While the majority of the alien characters are merely humans with a touch more red pigment and blue blood, the Tharks could be compared to the Na’vi from James Cameron’s AVATAR, but conceptualized with far more success. These four-armed, tusked natives are a major factor in the story and provide a great deal of the excitement.

Much of the star power for JOHN CARTER comes in the way of voice talent. Willem Dafoe and Thomas Haden Church lend their voices to the two primary Thark males, Samantha Morton offers her voice to the primary Thark female, and Dominic West and Bryan Cranston round out the cast. Mark Strong puts on the villain’s shoes once again as a mysterious Thern, stirring the proverbial pooh while standing on the sidelines. This character reminds me of a far more nefarious “Observer” for those who follow the FRINGE television series. He’s one mean dude and he doesn’t play fair.

While the action sequences may be short in duration, there are enough of them in total to give it a pass. JOHN CARTER crosses two worlds, 50 million miles and vastly different cultures to produce a movie many times more enjoyable than THE PHANTOM MENACE, minus Darth Maul, even with its slightly elongated 132-minute running time that could definitely benefit from a snip here and a cut there. The lead performances are notably Kitsch-y (see what I did there) and it works. For someone who has not read the original source material, Andrew Stanton’s JOHN CARTER has inspired me to seek it out.

Overall Rating: 3.5 out of 5 stars

3D Entertainment Distribution announced today that actor Paul Walker (The Fast and the Furious franchise, Takers) will narrate Air Racers 3D, the first-ever IMAX 3D theatre film devoted to the fastest race in the world: the legendary Reno National Championship Air Races. With stunning aerial photography filmed entirely in 3D and unprecedented access granted to the course, Air Racers 3D takes audiences into Nevada’s Valley of Speedto experience the intensity and high-speed thrills of a sports event like no other combined with spectacular air show entertainment.

“We are truly honored and delighted to have Paul Walker lend his storytelling talents to this action-packed 3D film, which will hit IMAX theatres in the US beginning this April,” said Francois Mantello, Chairman and CEO of 3D Entertainment Distribution. “His passion for racing and high-adrenaline sports makes him a perfect fit for this celebration of aviation.”

“I have always been fascinated by the sheer power, precision and skills of these tremendously talented pilots who race just 50 feet off the ground at twice the speed of a Nascar race,” said Paul Walker. “I was further drawn to the film by its unique historical view of this legendary sport and for the educational insight into the science of flying that it provides.”

“We are delighted to have Paul Walker be such an integral part of this film,” said Air Racers 3D co-directors Christian Fry and Jean-Jacques Mantello. “His ability to connect with moviegoers of all ages, and teenagers in particular, as well as his genuine love of motor sports unquestionably enhances this ultimate air show experience.”

Having captured the attention of audiences and industry executives alike with his undeniable on-screen presence in a string of supporting roles, Paul Walker’s breakout role was as undercover cop Brian O’Conner in the 2001 hit film The Fast and The Furious. Since then, he has managed a balance of box-office films and dramatic roles to cement his leap to leading man status. Walker has demonstrated his on-screen versatility by transforming into a soldier under the direction of Clint Eastwood, an Arctic research scientist in a Disney family adventure, and a New Jersey mobster in a gritty independent feature. Walker, who also made a return in the fifth installment of The Fast and The Furious franchise, recently starred in and executive produced Vehicle 19, an indie thriller set for release in 2012.

From the pits to the roaring sky,  Air Racers 3D explores the highly competitive world of air racing through the eyes of rookie pilot Steve Hinton as he attempts to fly his P-51 Mustang fighter plane to victory in the most highly-anticipated and unpredictable race class. Audiences will discover today’s elite pilots in their World War II-era aircraft as they fight for position, wingtip to wingtip, and skim 50 feet (15 m) above the ground around an oval course at 500 mph (805 km/h). The film also features rare archival footage and performances by many of the world’s top aerobatic pilots, including the Royal Canadian Air Forces Snowbirds.

Produced by 3D Entertainment USA and Pretend Entertainment in association with Stereoscope, Air Racers 3D is directed by Christian Fry and Jean-Jacques Mantello (Sharks 3D, Ocean Wonderland 3D and Dolphins and Whales 3D) and features a screenplay by Christian Fry and Rick Dowlearn. The musical score is by Christophe Jacquelin. The film is produced by Christian Fry and Raul Leckie, and executive produced by Francois Mantello, John Constantine and Jeffery Pierce. Two years in active production, principal 3D photography for the film took place during the 2009 and 2010 Reno National Championship Air Races and was completed in June 2011.

Visit the official film website at http://www.AirRacers-theFilm.com

Follow all the latest news on Twitter at http://www.twitter.com/AirRacers

About 3D Entertainment Distribution

Founded in 2001, 3D Entertainment Distribution is the marketing and theatrical sales arm of 3D Entertainment Films and 3D Entertainment USA. Affiliates of 3D Entertainment Films Holdings, the companies are focused on the production, postproduction, sales and theatrical distribution of innovative 3D films for IMAX theatres and Digital 3D cinemas worldwide. The cornerstone of the Company’s film catalogue is a unique underwater film trilogy presented by Jean-Michel Cousteau that has grossed over USD 84 million at the box office. In 2010, the company successfully launched its first acquisition, the USD 13 million-grossing Sea Rex 3D: Journey to a Prehistoric World which was named the Best Earth Sciences Program at the 2011 Jackson Hole Wildlife Film Festival. The Company’s current line-up of 3D films includes Kenya 3D: Animal Kingdom (February 2013), Patagonia 3D: Into the Wild and Time: The 4th Dimension, starring Christopher Lloyd and Deep Roy. The Company maintains offices in London (UK), Los Angeles (California) and Paris (France). For more information, please visit http://www.3DEfilms.com

IMAX Corporation, MacGillivray Freeman Films, and Warner Bros. Pictures today announced that two-time Academy Award® winner Meryl Streep will narrate TO THE ARCTIC 3D. The film will be released exclusively to select IMAX® theatres starting April 20, 2012.

To The Arctic 3D, from two-time Academy Award®-nominated filmmaker Greg MacGillivray (The Living Sea, Dolphins), is the first co-production fromWarner Bros. Pictures,MacGillivray Freeman Films andIMAX Corporation, following the companies’ strategic alliance announced late last year.

An extraordinary journey to the top of the world, To The Arctic 3D is the ultimate tale of survival. The film takes audiences on a never-before-experienced journey into the lives of a mother polar bear and her two seven-month-old cubs as they navigate the changing Arctic wilderness they call home. Captivating, adventurous, and intimate footage brings moviegoers up close and personal with this family’s struggle to survive in a frigid environment of melting ice, immense glaciers, spectacular waterfalls, and majestic snow-bound peaks.

PHOTO: © 2012 WARNER BROS. ENTERTAINMENT INC., PHOTO: SHAUN MACGILLIVRAY

“To The Arctic was filmed entirely in 15/70mm with spectacular shots designed to take full advantage of the IMAX 3D format, and the story and setting will be made even more powerful by Meryl Streep’s unmatched artistry,” said Greg MacGillivray, President, MacGillivray Freeman Films and director of To The Arctic. ”This is MacGillivray Freeman’s third collaboration with Meryl, and we are delighted to pair her prodigious talents with this emotional story of family and hope.”

Dan Fellman, President of Domestic Distribution for Warner Bros. Pictures, stated, “Together withIMAX, we have transported audiences from the reaches of space to the depths of the ocean and, most recently, into the untamed jungle. We are thrilled to partner withIMAXand MacGillivray Freeman Films to tell an important story about a vanishing landscape and the animals that count on it for their survival.”

“The most enduring relationship is that between a mother and child, which is powerfully portrayed through the polar bear family in To The Arctic,” addedGreg Foster, Chairman and President,IMAX Filmed Entertainment. “Greg MacGillivray’s engaging storytelling combined with the strength of theWarner Bros. andIMAX partnership will deliver for audiences an inspiring glimpse into how the ties between family prevail above all else.”

Meryl Streep most recently earned a Golden Globe Award for her leading role asMargaret ThatcherinPhyllida Lloyd’s new film “The Iron Lady.” Her numerous honors include an astonishing 16 Academy Award® nominations, including her two Oscar® wins for her work in “Sophie’s Choice” and “Kramer vs. Kramer,” as well as 26 Golden Globe nominations, with additional wins for her performances in “Julie & Julia,” “The Devil Wears Prada,” “Angels in America,” “Adaptation,” “Sophie’s Choice,” “The French Lieutenant’s Woman,” and “Kramer vs. Kramer.” Streep’s many other additional credits include the recent award-winning films “Mamma Mia,” “Doubt,” and “The Hours.” She next stars in the comedy “Great Home Springs,” to be released by later this year.

About To The Arctic 3D
To The Arctic 3D is an IMAX, MacGillivray Freeman Films and Warner Bros. Pictures co-production and a presentation of One World One Ocean (www.oneworldoneocean.org). The film was produced in association with Campion Foundation, Reynders, McVeigh Capital Management, Canadian Museum of Civilization and MacGillivray Freeman Films Educational Foundation. To The Arctic was shot by Greg MacGillivray, Brad Ohlund, Bob Cranston, Howard Hall, Ron Goodman and Jack Tankard, produced by Shaun MacGillivray, written by Stephen Judson and executive produced by Tom Campion, Chat Reynders and Harrison Smith. The film’s companion book, To The Arctic, featuring photography by wildlife photographer Florian Schulz, is now available from Braided River, whose books combine photography and essays to raise awareness about some of the world’s last great wild places (www.welcometothearctic.org). More information about the film can be found at http://www.imax.com/tothearctic.

About MacGillivray Freeman Films
MacGillivray Freeman Films is the world’s foremost independent producer and distributor of giant-screen 70mm films with 35 IMAX films to its credit. Throughout the company’s 40-year history, its films have won numerous international awards including two Academy Award® nominations and three films inducted into the IMAX Hall of Fame. To The Arctic 3D follows in the company’s long tradition of producing films that call attention to the natural world. It is the first film presentation ofOne World One Ocean, a multi-year, multi-platform campaign established by company founderGreg MacGillivray to change how people see and value the world’s oceans.  MacGillivray Freeman’s films are known for their artistry and celebration of science and the natural world.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience® and The IMAX Experience® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

I remember first being introduced to Greek mythology in grade school, later delving more into the subject in junior high. I remember being fascinated by the stories, drawn into the lore of the gods and heroes and the fantastic creatures. I still remember bits and pieces of what I discovered in those formative years of endless imagination. However, I will not remember IMMORTALS as being a film worthy of that same lasting admiration.

IMMORTALS tells a story, albeit questionably accurate to its source material, of a peasant named Theseus (Henry Cavill) secretly trained in the fighting arts by a mysterious old man, played by veteran actor John Hurt. When the ruthless King Hyperion (Mickey Rourke) invades with his army of evil tyrants, Theseus finds himself thrown under the bus by Zeus (Luke Evans) to lead his people to victory against overwhelmingly impossible odds. With the help of a soldier named Stavros (Stephen Dorff) and the virgin oracle Phaedra (Freida Pinto), Theseus must find a way to defeat Hyperion before he uses a powerful magic weapon to unleash the terrible Titans upon humanity. This is the story, but it lacks any significant depth, character development or the wonderful detail of the mythology I recall from my youth.

Tarsem Singh, without a doubt, is one of the most exciting new filmmakers when it comes to wildly imaginative visual cinema. The problem is that it takes more than merely an eye for amazing imagery. Audiences were first introduced to Singh in 2000 with THE CELL, a film that had audiences visually awestruck but also feeling disappointed in the story and the acting. Six years later, Singh would give us THE FALL and earn back a lot of respect. Unfortunately, IMMORTALS is his third and arguably worst film.

IMMORTALS is a visually stunning film, but not an entirely successful effort. Singh spends far too much time wallowing in his CGI landscapes, implementing several slowly sweeping panoramic vistas from breathtaking heights and distances. This all occurs during a disappointingly dull first two acts, when Singh could have spent his time more efficiently weaving a more engaging and interesting story, before unleashing 95 percent of the action in the third act. The action itself is acceptable, but lacks a certain punch. The best action is in the tighter shots, whereas the broader shots of epic battle get lost in the excessive use of slowed down bullet-time cinematography that is beginning to lose its appeal through Singh’s and Zack Snyder’s unhealthy overuse. The two most impressive bits of action are at the end; when the Gods finally face off with the Titans with awesome, if not somewhat cheesy, comic book style; then when Theseus goes toe-to-toe with King Hyperion, with a higher level of realism and fluidity.

The performances in IMMORTALS are not bad, so much as subject to a mediocre script. Henry Cavill, whom we’ll soon recognize as the new Superman, appeared to be in a constant state of painful constipation that is meant to convey anger and rage. Mickey Rourke will be happy to have the paycheck, because King Hyperion marks what will hopefully be a short-lived hiccup in his recent triumphant comeback. Freida Pinto is absolutely gorgeous, but lacks the mysterious allure I would expect from an oracle, replaced with the draw of a centerfold model. Stephen Dorff is quite simply put, Stephen Dorff.

Finally, and I’m sure you’ve all been waiting for this, IMMORTALS is a 3D film. Despite my general dislike of its very existence, 3D is here to stay for now. The question is always, is it well done? With IMMORTALS, the answer is an echoing hell no! I recall suffering through the CLASH OF THE TITANS remake, which was post-converted to 3D and looked terrible. IMMORTALS is actually shot for 3D, but looks as if it were post-converted. The film appears ever-so-slightly darker than it should, washed out and lacking the amount of depth of field expected from a film intended to be 3D. Rarely does the 3D make its presence unavoidably known, which ideally is what we want, but it also often falls into oblivion and would be easily forgotten, if not for the annoying 3D glasses in constant need of adjustment.

Overall, IMMORTALS is two-thirds snorefest followed by one-third mediocre action flick, riddled throughout with CGI that screams “look at how cool I am!” This isn’t a complete waste of your time and money, but its awfully close, especially if you intend to delve into the mythological core of the material as I had hoped. If forced to choose, I would revisit the CLASH OF THE TITANS remake before a second run at IMMORTALS, and that’s a tough pill to swallow.

Overall Rating: 2 out of 5 stars

In DreamWorks Animation’s latest animated outing, we are introduced to the world of PUSS IN BOOTS populated by some eyebrow-raising nursery rhyme characters. A back story to the little wide-eyed cat we met in SHREK 2, the film opens with the newly-orphaned Puss, growing up in the small village of San Ricardo. He later befriends a somewhat twisted and oval shaped guy – Humpty Alexander Dumpty. Puss continually listens to Humpty’s lofty dreams and plans, but at the end of the day, he’s just an egg who’s better at rolling than walking. Ultimately Humpty doesn’t have the means to really accomplish any of his goals. Director Chris Miller shows us an egg who was picked on and a bit of an outsider, and Puss protected him and always stood up for him. Humpty is the dreamer and Puss is helping him realize his dreams.

They both have a simple dream of leaving the orphanage for a better life – all they need is a few magic beans to grow into a beanstalk so they can steal a fabled goose that lays golden eggs from a giant’s castle in the clouds. Easy-peasy. The continual childhood search for the fabled beans turns up nothing, ending the childish dreams and the friendship of the cat and the egg.

It isn’t long before the cat of action finds his true calling, when he selflessly rescues a woman from the path of a charging bull. San Ricardo quickly bestows the title of hero to Puss, which earns him his debonair hat and legendary boots (meant to stand for truth, honor and courage) – thus becoming El Gato con Botas! When Puss agrees to help a jealous Humpty in a plan all in the name of saving their friendship, the two are set on separate paths with quite different goals. Puss becomes a presumed traitor to his village and everyone who trusted him, while Humpty becomes a bad egg, whose childhood dreams turn to thoughts of personal gain and revenge.

After their separation, Humpty comes back into Puss’ life, when he finally finds a way to make their childhood dream of finding the magic beans come true. He’s planned it out, but he needs Puss’ help to execute it. However, it’s also going to be a three man (cat, egg, cat) job and that’s where the greatest thief in all of Old Spain is introduced – Kitty Softpaws.

After Puss finds himself confronted by a masked opponent, he tracks his rival to a “cats only” cantina, intending to challenge the sly feline. The house rules dictate that on Tuesday, fights are restricted to dance challenges, so our hero and the still-masked adversary engage in a free-for-all dance-off, much to the delight of the all cat audience. The scene works due to the clever choreography, which humorously blends everything from flamenco, to Latin ballroom, to contemporary, from Laura Gorenstein Miller, founder, choreographer and artistic director of the Los Angeles-based modern dance troupe, Helios Dance Theater.

Part of the problem with Humpty’s plan to obtain the beans and eventually get rich is that there is someone out there who wants the beans as much as he – in fact, there are two who stand in the way of Humpty’s dream – an ornery pair of husband-and-wife bandits known as Jack and Jill, played with grit and gusto by Billy Bob Thornton and Amy Sedaris. As with the general filmmaker blueprint for fairy tale revisionism, this is not your nursery rhyme duo who “went up the hill to fetch a pail of water.” They are big, mean and out for themselves, which naturally makes them perfect for a life of crime.

This amazing fairy tale race to find the confounded golden goose leads them to discover that this goose is a mom with a gosling. The precarious travels lead the trio to realize that “wanting” isn’t always such a pleasing thing as “having,” with Humpty learning the lesson that it’s not too late to change the course of his life – even he deserves a second chance.

The two fanciful scenes that’ll leave you purrin’ are the wagon chase and swirling, growing beanstalk. Production designer Guillaume Aretos’ minute details are rich in depth and scale – it’s lovely to watch these tiny characters wondering at the universe as they rise into the cloudy heavens of the giants. With the advantageous use of 3D, visual effects supervisor Ken Bielenberg is able to capture some energetic moments especially in the stagecoach heist. Puss in Boots, Kitty and Humpty attempt to steal the magic beans right out from under the noses of criminals Jack and Jill…while all are traveling at breakneck speed on a stagecoach. There’s a lot of action in these scenes. Executive producer Guillermo del Toro influences can be felt throughout this colorful, stylized world filled with big symbolic shadowing. It’s the feel of an old spaghetti Western, bordering Sergio Leone, that really suits PUSS IN BOOTS – even down to editor Eric Dapkewicz’s use of the split screens.

The audience could totally believe this strong, adventurous cat in an Indiana Jones, 007, or even (wink) in a Zorro role. Antonio Banderas and Puss have become interchangeable – they’ve become one and the same. You can’t have one without the other. Salma Hayek’s “Kitty Softpaws” is a strong, independent, funny cat – her sultry voice brings many attributes to the “femme fatale” feline. The villainous Humpty Alexander Dumpty is played by Zach Galifianakis with a sly wit and charm – right down to his thinly pursed lips. There’s a lot more depth to his vulnerability beyond the king’s men putting him back together.

Henry Jackman (MONSTERS VS ALIENS) has composed a score scattered with flourishes of classical and flamenco music throughout. A beautiful homage to the genre that reinvigorated the American Western is the end result. Instead of the staid, sobering nursery rhymes, director Chris Miller (SHREK THE THIRD) delivers a magical twist on the fairy tale genre. PUSS IN BOOTS is epically romantic, with a great heart!

4 out of 5 stars

The film is rated “PG” for some adventure action and mild rude humor.