3D movies are actually older than most people think. Way before the latest 3D craze of our times, a number of 3D flicks during the 80’s were already hitting the box office. In fact, the 50’s and even decades earlier all became witnesses to a number of 3D movie offerings. The catch of these older movies (mainly using the anaglyph-style 3D via those red and blue glasses) was how they tend to amaze the viewers with that so-called “jump of the screen” effects.
Now, in the era of IMAX 3D, Real 3D, and Dolby Digital 3D, this best 3D movies list rekindles the long-gone hype of what 3D technology can offer to the big screen.
Since the resurgence of 3D movies from the mid-2000’s to March 2010, I have been personally hoping to catch the old 3D movies of yesteryears, then have them compared with what the modern times offer. But for now, these films from the new era of 3D filmmaking (using 3D stereoscopic technology) are my best picks for the Top 5 Best 3D Movies List as of March 2010:
Director: James Cameron
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Joel Moore, Giovanni Ribisi, and Michelle Rodriguez
Plot: After the sudden death of his twin brother, the paraplegic war veteran Jake takes his place in a mission to infiltrate the Na’vi, a humanoid race from the distant world Pandora, through the use of an avatar. In exchange for the spinal surgery to fix his legs, he submits to the instructions of the military authorities and corporate executives, only to find himself torn between the greed of his own race and the need and value of an alien civilization that he begins to embrace.
This bold 3D eco-opus examining technological wonders and morality is totally jaw-dropping in stereoscopic 3D. Period.
2. “U2 3D”
Director: Catherine Owens and Mark Pellington
Cast: U2 as themselves (Bono, Adam Clayton, Larry Mullen Jr., and The Edge)
Plot: With everything entirely shot with more than a dozen 3D cameras, U2 3D offers a groundbreaking concert movie featuring the legendary band U2’s 2006 “Vertigo” tour.
This rock documentary provides a perfect marriage of surround sound and 3D visuals that it felt like attending a real concert. At the IMAX theater, I and the rest of the viewers were standing, singing, holding up concert stuff, and jumping from our places with an energy like that from a real concert.
3. “Deep Sea 3D”
Director: John Hall
Voice Narration: Kate Winslet and Johnny Depp
Plot: As a 3D nature documentary exploring the awe-inspiring depths of the oceans around the world and their marvelous creatures, this film becomes a spectacular journey around the homes of the many aquatic wonders of the planet.
This visually enticing 40-minute film offers a worthwhile 3D experience. It is breathtaking, educational, and so full of life. From the stunning and colorful species to the grotesque and weird sea creatures, it allows the audience to really feel the valuable presence of all these life forms and how significant they are in a world that humans should fairly share with them. How engrossing this short but meaningful movie is? Many of us inside the theater ended up personally touching mid air for several times to feel those majestic fishes that were seemingly right in front of us.
Director: Henry Selick
Voice Cast: Dakota Fanning, Teri Hatcher, Jennifer Saunders, Keith David, and Ian McShane
Plot: Based on Neil Gaiman’s novel, this 3D stop-motion animation project offer tells the story of the little girl Coraline who moves to an old house and discovers an alternate version of her life there. Feeling bored and neglected by her parents, she finds solace on the parallel reality of this other version of her world (where everybody has buttons instead of eyes). She initially finds it way much better than her real life. However, her adventure gradually turns into danger and she struggles to find her way home to save her real family.
This animated offering sets a significant template on how 3D films should be. It provides great storytelling, just enough “jump-out-at-you” moments, and a fantastical vision though its dark fantasy treatment. It effectively envelops the audience with an immersive adventure the way Coraline experiences it. The 3D imagery is utilized for the best of the film instead of becoming a mere 3D cash-cow gimmick.
Director: Robert Zemeckis
Cast: Ray Winstone, Anthony Hopkins, John Malkovich, Robin Wright Penn, Crispin Glover, and Angelina Jolie
Plot: The Danish king Hrothgar succumbs to the havoc initiated by the monstrous troll Grendel. He offers rewards for his death and the great warrior Beowulf lives up to the task. He soon becomes king. However, his darkest secret gets back at him decades after when Grendel’s evil mother, whom Beowulf had a life-enduring bargain with before, brings to his kingdom its worst nightmare.
Zemeckis’ foray into the world of actor-based computer animation turns this classic literary tale into a different kind of sensory experience in 3D animation format. It blends CGI, motion capture, and 3D sterescopic technologies to bring a level of 3D appeal that has become a pioneer for its time.
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As a feat of fearless imagination and audacity, “Avatar” is a bold eco-opus examining the themes technological wonders and morality. It is a breathtaking flight of fancy using the typical Hollywood formula.
Engaging its audience with its titanic technical achievement, its technical brilliance, alongside its timely and significant concept, is truly worth more than a decade of risky, arduous, and passionate work.
Leading the future for its new format of big-screen entertainment, watch it in 3D to get the full experience it can offer on the big screen.
Director James Cameron impressively leads the viewers to his Pandora’s box. Predictable story, cliched dialogue, and logical lapses aside, this motion picture turns out thrilling and explosive in the right mix. It has enough soul to effectively escape into the new world of jaw-dropping spectacle. This film gets the closest any has to fulfilling the 3D format’s fundamental mission of creating a new, immersive way of looking at movies. If there’s a chance, it is highly recommended to watch it in IMAX to see it in its full visual glory.
The most-hyped movie of the year just about merits the description. Cameron’s visionary bearing for his long-awaited pet project, his first film after the equally historical 1997 hit “Titanic,” is well worth the wait.
Its awe-inspiring technical brilliance kind of overpowers the storytelling — but the said flaw doesn’t really matter with how Cameron brings to life Pandora and the Na’vi, which clearly is a quantum leap in modern filmmaking technology.
The narrative explores the sub-stories of: a buffed ex-marine in a wheelchair who gets turned into an alien warrior through his avatar (his human mind in an alien body); a free spirited princess in an indigenous alien tribe getting into a love triangle; a military industrial complex with machinery and weaponry of the 22nd Century caliber; and a potential world filled with exotic life forms and million-dollar stones.
The tale about profit and progress vs. nature’s power and infinite variety promotes a fancifully detailed vision. However, the exploration of these societal issues gets quite compromised by the rather juvenile story exposition. In terms of the intense expectations for it, amidst the very promising concept, the film still falls short in putting enough dimension to its plot, as compared to its technical magnificence as a 3D epic.
Gorgeously rendered, this 3D offering sets a new bar in computer-generated animation. With the feast of technical details on display, the viewers can easily find themselves busy marveling at everything on screen. The photorealistic 3D imagery really transports the audience into an alien world rich with imaginative vistas, creatures, and characters; even at the middle of clunky lines, awkward scenes, cliched moments, and a script that plays things very, very safe.
The film’s concept is full of potential. Its vision is full of challenge. Not everything makes sense; but in the best way possible, things are dealt with for the sake of pure Hollywood entertainment. Every time the movie runs out of credibility, especially when it comes to the plot, the eye-candy provides enough sugar rush. The screen elements break the CG barrier by combining elaborate lighting elements and complicated visual details with state-of-the-art motion-capture technology and tried-and-tested recreation of live-action parts. Meanwhile, James Horner delivers the 3D equivalent of a soundtrack. From start to end, the sound and music are in par with what the visuals offer.
Cameron and his legion of skilled craftspeople mounts a convincingly realized artificial world created from scratch to the big screen. They blur the line between reality and CGI by definitively blending animation and live-action elements. The breathtakingly beautiful CGI landscapes present a story that easily travels from the human world to the fantastical and back. Its sophisticated editing rhythms represent what one contemporary blockbuster cinema (a $400 million project) dictates. The filmmakers’ aim for sheer wonderment for this sci-fi epic with gamer-geek sensibility truly delivers for its intended purpose.
While its cinematic impact may not quite rise to the ultimate expectation of being “a master of all masterpieces,” this bold and imaginative vision gets to the level of such a descriptive phrase as a “stunning masterpiece of cinematic technology.”
The metaphorical aspects of the film, though not played out at their best, are still worth noting. When trying to go deeper than the jaw-dropping visuals, the narrative reveal issues and concerns on progress vs. environment. Value is also given to themes about: tribes and races; physicality and spirituality; love and survival; humanity and technology; pride and purpose; responsibility and morality; and war and greed.
The world of Pandora is very immersive and the Na’vi people seem to resemble the old culture of the world in the alter ego of American Indians. The marines and the scientists resemble the capitalist and fascist thinking in modern civilization. The heroes of the tale show how it is to become truly human, while being torn in between two different worlds.
It is interesting to note that unlike the overall storytelling that gets sort of overpowered by the film’s audio-visual grandeur, the well-realized culture of the Na’vi becomes comparable to a fantasy novel getting the reader engrossed to the value of its world, resources, and people — to the point that the special effects don’t exactly become a barrier to let you feel for them as they struggle against the destruction of their home by the so-called “sky people.”
This decade-in-the-making dream project of Cameron is like the “Star Wars” of this age. For all the technical virtuosity of its mythical 3D universe, the Na’vi characters seem much more expressive than most motion-capture technology creations of this generation — making it in par with the brilliance of the exemplary Gollum-Smeagel character in “Lord of The Rings.” The invented world is also comparable to the technical and thematic milestones that George Lucas and Peter Jackson made in the realms of fantasy and special effects filmmaking.
The technical wizardry is at the service of a recycled plot that still rightfully pumps blood for the purpose of cinematic immersion. The film’s digital world effectively transports the audience to a domain that doesn’t exist — and it is just impossible not to get engaged with the fantastic visuals of such painstakingly intricate details.
“Avatar” is a little hollow at the center as compared to great film concepts and scripts that have become masterpieces; but the sheer scale and ambition of its production look as tactile and as tangible, as if they are made of real materials and living tissues.
The creative epiphany in “Avatar” is the extraordinary experience that more than lives up to the hype. Despite its flaws, it is a brilliant, visual extravaganza that is simultaneously thrilling, provocative, and surprisingly moving. It ma be more impressive on a technical level than as a piece of storytelling opus, but it proves to be a successful approach in creating a good 3D film experience; thus, paving the way for it to become a 3D sci-fi classic in the history of world cinema.
This motion picture is essentially a movie that people have seen before; but it is boldly made to look like nothing anyone has seen before. The inadequacies of the story become relatively forgivable — thanks to the undeniably beautiful, engrossing, and mind-bending audio-visual epic that it is.
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“District 9” is a hybrid of a film: it is a Hollywood material that looks like a successful anti-Hollywood venture and a brilliant social commentary.
Produced by the people behind “LOTR” including its helmer Peter Jackson, this motion picture delivers its universal message about ethnic tolerance through the tale of a doomed extraterrestrial race forced to live in slum-like conditions on Earth, mainly in a South African ghetto, until these beings suddenly find a kindred spirit in a government agent exposed to their biotechnology.
This sharp-edged, down and dirty science-fiction work incorporates a great deal of big-budget elements in a part-fake documentary, part-body horror, and part-robot flick. As a comparably smaller offer than the usual Hollywood sci-fi offering, it is still utterly reminiscent of the failed alien and mechanical warrior sequels of similar franchises like “Terminator,” “Aliens vs. Predator,” “Transformers,” and “G. I. Joe.”
Director Neill Blomkamp packs this gritty sci-fi tale with compellingly bold and imaginative pop elements. People have seen too many alien invasion flicks before, but nothing anything quite like “District 9” has come before it, especially in terms of its carefully merged dramatic story, biting satire, low-key CG inventiveness, tightness of editing, and carefully rendered set details. The special effects don’t overwhelm the harrowing story, which helps make the storytelling more emotional. The gross and the drama, together with the big guns, chases, and explosions, remain appropriate to the storyline. Thus, paving the way to a fresh franchise potential.
The good thing about “District 9” is that it’s both intelligent and entertaining. There is clearly no need to dumb out the audience just to be able to get that combination of funny, violently gross, and wildly enthralling speculative movie that exude genuine emotional resonance.
This motion picture is unlike any of those mostly seen in Hollywood’s sci-fi canon. It is not targeted for those who don’t find psychological and physical gore favorable as they would probably feel a little uneasy in a couple of scenes. Some may find certain shots kind of stressful to watch. But sitting through it has its price — a fresh and thought-provoking, if not groundbreaking story, making a good point about racial prejudice and posing a number of serious questions about the state of humanity.
“District 9” is a superb realization of a poignant satire, irony, humor, violence, and drama that is not afraid to examine the essence of what it actually means (and what it might cost) to be human. It is an edgy, provocative commentary on the human condition. It has a heart and soul to its piece. It keeps up with its own technical challenges. As a sci-fi actioner that entertains mercilessly, it opens up a certain compassion and humanity to its audience. It is a swift and subtle movie that trusts its viewers to do some of the work — and it’s quite effective at that. It serves as a pop allegory for the racial tension of apartheid, issues on mass immigration, and man’s inhumane ways to both humans and non-humans.
A modestly budgeted project with an actual idea in its head, this cinematic offering aptly combines breathless action, political satire, and poignant drama that can generally hold the viewers’ attention from start to finish.
This piece of cinema proves that sci-fi flicks don’t always need star-studded or mega-budgeted requirements to be visually intense, remarkably executed, and thoroughly entertaining. Its relatively unknown cast works very well. Lead character Sharlto Copley as Wikus Van De Merwe puts the right dose of pathos for the film through grit, charm, naivete, and humor.
People have seen many aliens coming to earth in movies. Many have seen the finest use of computer-generated imagery on the big screen; but it’s rare to see an intriguing, sci-fi fable that is consistently gripping. This makes “District 9” an original classic in its own right.
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“Star Wars Episode III: Revenge of the Sith” provides closure to finally weave the two “Star War” trilogies.
This film serves as the final chapter to the culturally historical galactic empire saga from the real master behind the force George Lucas, along with his dedicated behind-the-scene heroes from the “Star Wars” of the 1970s and 1980s (“Star Wars Episode IV: A new Hope” in 1977, “Star Wars Episode V: The Empire Strikes Back” in 1980 and “Star Wars Episode VI: Return of the Jedi” in 1983) to the prequels made two decades after (“Star Wars Episode I: The Phantom Menace” in 1999, “Star Wars Episode II: Attack of the Clones” in 2002, and finally, “Star Wars Episode III: Revenge of the Sith” in 2005).
As the classic franchise’s concluding motion picture offer, “Revenge of the Sith” features a lot of foreshadowing and connections to keep in touch with what the trilogy from the past has become known for. George Lucas also plays a cameo role as the blue-skinned Baron Papanoida, which is shown at the opera scene.
From the use of the 1980s-style transition effects to the standard opening credits about “the galaxy far, far away,” its original appeal is well-kept. Loose ends get tied up with modern imagery without losing the original “Star Wars” look and feel.
The opening sequence is a jaw-dropping collage of moving ships in battle, starting off with a long shot filled with lightsabers and machines. The sound elements in weapons, moving aircrafts, and holograms are never left out by the powerful visual effects. Even the scoring further validates how John Williams really imprinted his signature in the “Star Wars” music.
The political intrigues exposed in this epic motion picture exudes some satirical tones.
The problem with a hard-core effects-filled film is that at some point, it becomes a victim of losing its own touch on the true dramatic display of human emotions. The good, kind-hearted, and well-brought up Anakin lacks the hesitation and moving and striking moments as he struggles and consumes himself into the Dark Side. The film relies too much on visual and physical cues on Anakin more than giving valuable acting moments that can better manifest his real emotions on screen. A much better characterization and acting performance could have justified his slaughtering of the young and old Jedis alike, and all his other abrupt change of actions after embracing the Dark Side.
Even the great love between him and Padmé does not render enough motivation. It is not thoroughly expressed. There are no tear-jerking moments amidst the gravity of the tragedies that happen to the main characters. Even with the death of Padmé or the pain of Obi-Wan losing a brother and apprentice are just mere visual feasts: splendid costumes; cool lightsaber fight scenes; impressive CGIs; opulent production design; and impressively challenging cinematography. Personally, I like how C3PO’s entirely metallic body looks like a walking golden mirror on screen without reflection issues out of all those present lights, cameras, and other production equipment.
“Revenge of the Sith” lacks the deeper and more consistent motivation for Anakin to take the fall into the Dark Side. While there is that need to validate his undying love for Padmé, the treatment offers no much heart to capture the very emotions of love, fear, and confusion. R2D2’s fun role actually provides a more effective characterization compared to the supposed heaviness and emotional struggle Anakin offers.
In this installment, it is quite disappointing to see the warrior-type Padmé of “Star Wars Episode II: Attack of the Clones” suddenly belittled into an almost useless character. Other than her pregnancy, her characterization mostly leaves her a damsel in distress that is way out of her character from the previous installments. She may be pregnant, but this doesn’t mean she can’t be a much more interesting female character the way Anakin or Obi-Wan can face a hell of Droids with their lightsabers no matter how impossible their stunts would get. Padmé is full of grief with what happens to Anakin, but this doesn’t mean she can no longer kill even a single Droid or escape a simple danger the way she used to in the former “Star Wars” episodes. At the very least, she can simply make a stand at the Senate or say any striking word as a Senator witnessing an intergalactic chaos. Frustratingly, she has been turned into a weakling of a character throughout the story — a supposedly strong woman unable to fight for her love and for her world. In terms of gender sensitivity, a bit more redemption for her character could have meant a lot in the story.
As expected, the fight scenes offer the best highlights in the film, primarily the lightsaber battles between the various evil Darths. The final battle between Obi-Wan and Anakin in a volcanic planet is choreographed well. This, along with a couple of other action scenes, makes this “Star Wars” movie something worth checking out.
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If you think Hogwarts is the only secret school for extraordinary kids, well there’s also the heroic children’s world of “Sky High.” This film is a hybrid superhero flick: “The Incredibles” meets the “X-Men” via “Harry Potter.” It may be a Disney flick with a big celebration of superhero cliches; but it is entertaining enough for its target market. As a derivative, it never claims to be genuinely superior to its more successful blockbuster sources. Despite having a mediocre and formulaic script, it still turns out as an engaging family movie.
Exploring the lives of emerging superheroes during the time called “coming of age,” it is a lightweight adventure that dwells into the themes of puberty, popularity and family acceptance (living up to the issues of celebrity parents or parents who excel at their chosen professions and expect their children to excel in the same field as well).
The story builds up at a secret school up in the clouds named Sky High, an elite school for kids with superhero parents and superpowers themselves. The freshmen group rides a bus towards the campus and gets a sight of cool gadgetry and awe-inspiring superskills amidst some parental battles, peer pressure,and teenage love moments.
Living their high-school life in a cloud-floating campus, the teens are at the peak of discovering their superpowers. These include a rock monster, an acid spitter, a glow in the dark boy, a vegetation commander, a beautiful and popular senior technopath, two bullying boys with superspeed and superelasticity, a snooty cheerleader, a dangerous rebel with flammable arms, animal-morphing, beach ball-morphing, and puddle-morphing kids, and lots of other teens with superpowers. Further exaggerations are seen with their professors such as the forgotten-sidekick and formerly known All-American Boy who is now the dorky mad science teacher with a gigantic brain.
Living up to the people’s expectations, Will Stronghold (Michael Angarano) is pressured by the fact that his father, the Commander (Kurt Russell), and his mother, Jetstream (Kelly Preston), are the world`s most legendary superheroes. At Sky High, the freshies are divided into two classes by a cruel gym teacher (reminds us of Hogwarts’ Sorting Hat): the Heroes and the Sidekicks/Hero Support. Initially, the mundane Will joins the ranks of the Sidekicks as a late bloomer who apparently shows no signs of special powers inherited from his parents. Upon hitting the peak of his superhero puberty, he finally inherits his dad’s colossal strength and even his mom’s ability to fly. His outcast days are over as part of the Sidekick class whose gifts aren’t adequately impressive, as far as the school standards are concerned. As the inevitable villain plot endangers Will’s parents and the whole Sky High, he and his teenage superfriends (a group of freshmen sidekicks plus his former arch-rival Warren Peace (Steven Strait), take the hero’s path to save Sky High.
The movie kicks off with bright, comic-strip panels and tries to wrap up in the same way. It is a combination of mild teen melodrama, quirky characters, and superhero fantasy revolving around the tragedies of high-school life. The discrimination within the superhero hierarchy (heroes and sidekicks) involves both emotional and practical concerns. It manages to put some undertones in putting catchphrases such as “hero support.”
Scene transitions feature the classic use of tilted camera shots and contemporary B-movie style CGIs to heighten the movie in a not so distracting fashion. Effects are seemingly spent within a limited budget — having no big-time intro and finish to boast of. Ironically, this works for the movie’s advantage as there is no much distraction from the plot mechanics. The superhero costumes are deliberately “action-figurey.” The script is completely dependent on formula, superhero conventions, and standard teen movie cliches. Yet, its undemanding tone gets a certain charisma for the enjoyment of its targeted young viewers.
“Sky High” is classic Disney filmmaking. It crosses the superhero saga with a kiddie-flick charisma designed to bring delight to the young. This is a bright, fanciful, and warm-hearted flick fitting a family day.