I will admit that I was thrown off by the negative reactions to the trailer. I was blown away by the footage I saw at Comic Con, but I was beginning to worry that I hadn't seen the movie I thought I'd seen. But after seeing the footage again and watching the trailer a dozen more times, I'm convinced that Avatar is an evil plot by James Cameron to force people to watch their movies in the theater if they want to enjoy the full experience.

The Avatar Day footage is more or less the same footage shown at Comic Con, although some scenes were truncated and a brief moment was added. They give you a taste of the immersive experience Avatar is. When a creature chases Sully in his Avatar form through the jungle, it's a visceral experience that simply wouldn't be the same in two dimensions. And when we get to stand still and really look at the background, there's the sense that you're really a visitor to Pandora, drinking in all the details of a fantastical world. Cameron and his fellows have infused these clips with an incredible amount of detail, from the way the Na'Vi ears twitch and move to a few stray moths in the background. Especially in the bioluminescent scene, Pandora feels like a real and breathing world, one with all the natural chaos of fluttering leaves and errant insects.

There are certainly design choices that could attract criticism from CG enthusiasts. Na'Vi skin is opaque, rather than slightly translucent like human skin, and of the animals we've seen so far, none have fur (there are also some wearying instances of Zack Snyder-style slowed-down action). But where Cameron chooses to focus his attention, the detail is remarkable. Rocks on Pandora look like rocks; hair comes in individual strands (though it is often bound up in braids) and falls naturally; and, while the animals don't have fur, their muscles pump and pulse beneath their flesh. Even the colors are richer when seen inside the theater.

All of the footage shown comes from the first half of the movie, so we don't get a very good sense of how the story will unfold. But the method behind Avatar's marketing madness is becoming clearer; no footage on your computer or TV can live up to the experience of seeing it in the theater, and Fox is hoping that Avatar Day word of mouth can sell tickets to the movie in a way no promo clips or trailer ever could.

When MTV News talked to Cameron about the possibility of adapting Yukito Kishiro's cyberpunk manga series, the director first responded with a less than resounding, "Maybe, maybe." But as the interview went on, he began to talk more animatedly about the technology needed for an Alita film:

If Cameron can work out the technology in a timely fashion, Alita might be just the project to follow Avatar. From what I've seen of the footage, Avatar is an enormous technological leap in animation, but if viewers ultimately find the storyline too Dances with Wolves/Ferngully, it might make more sense to turn to an already established property. And Kishiro's dystopian 26th century would be lush in an entirely different way from Pandora,Avatar's botanical wonderland. And even if Avatar is every bit as incredible as the early footage suggests, I'd much rather see Cameron push his technology in new creative directions before we take a second visit to Pandora.

James Cameron Says 'Battle Angel Alita' Adaptation Could Be Next, But Evolving Tech Is 'Critical' [MTV Splash Page]

Note, Bridges is without beard presently.

First take a look at these incredible-looking tokens to Flynn's Arcade. But in the sequel, Flynn has mysteriously vanished. At least that's what has been rumored, and is now being implied on the Flynn Lives site. The followers are dedicated to uncovering the mystery of Flynn's disappearance including a time line and an assortment of clippings about Encom's CEO.

1989 — Kevin Flynn alleged to "disappear." Initial facts raise many questions. Many of us were suspicious.

1990 — Sightings of Kevin Flynn by ordinary citizens, including high-credibility "Level 3" sightings of Flynn in NYC's Central Park during a Shakespeare Festival, on the fringes of a San Francisco street fair, and the notorious "Elvira" sighting of Kevin Flynn at Halloween celebrations in West Hollywood, California. Unfortunately, these initial sightings display certain characteristics true to this day — nothing has been confirmed and photographic evidence has been lacking.

1992 — Sightings continue. Several of us make contact thru Usenet and begin correspondence.

1994 — First Flynn Lives! meet-up in Dayton, Ohio. We resolve to continue our efforts to find out the facts behind the mysterious disappearance.

1998 — Letter from Kevin Flynn to a founding member of the group gains media attention, then debunked. Founding member (now ex-member) checks into a mental hospital for observations.

2001 — A $5,000 award is offered to anybody who can prove Kevin Flynn is alive. By December 31st, alas, nobody had satisfied our jury and the money was spent on a great party for all of the "Troniacs" we know and love!

2002 - 2005 An era of low visibility for our group. Sightings drop off, and interest seems to slacken. Thank heavens that is over!

2007 - Interest picks up as the "Albino Cow" Flynn sighting in southern New Jersey energizes a new generation of activists.

Here are a collection of fake clippings documenting the CEO's mysterious disappearance.

So dust off your unitards, it's Tron time, bitches. BRING ON THE ARG's and day-glow lights, we're ready. Also, we're hoping the countdown hidden beneath the dancing spider is for the Comic Con panel — seems like it.

The Flanimals are part of a four volume series, illustrated by Rob Sheen, and written by British comic Ricky Gervais. The main blob will voiced by Gervais, and it could actually be quite hilarious to see someone animate the Brit's infamous stutter-and-stop delivery.

This species inhabits another planet, and there are over 50 different types of these intentionally hideous creatures. Universal-based Illumination Entertainment will be making the feature, in which we all learn that beauty is in the eye of the beholder — unless you look like that guy up there. There's no helping him.

[Variety]

According to Variety, studios are considering following Disney's lead (the studio has already released a 3-D version of The Nightmare Before Christmas and have Toy Story 3-D ready to go this summer) and reworking old favorites in the new format. According to the trade paper, tests have already been done to see how Transformers and The Matrix will look in the format.

The problem with the potential of 3-D re-releases, however, may be the cost:

The conversion process can cost around $15 million for a long-ish actioner (about what Jeffrey Katzenberg says it cost DreamWorks to make "Monsters vs. Aliens" a 3-D release), and the transformation typically takes 10 to 14 months. The director is involved at the beginning and the end of the process, but need not be present for most of it.

The conversion is extremely complicated for any film, but costs more for a tentpole, where there can be extensive visual effects and images featuring many people and objects. It can run $100,000 per minute for the most difficult shots — but if a perfectionist director decides to tinker or re-edit, costs go up from there.

With there only being a limited number of 3-D-ready theaters in the country (leading to successes like Coraline being bumped off screens by the underperforming Jonas Brothers movie), studios will have to consider whether it makes financial sense to spend that kind of money just yet, or follow George Lucas' lead; the Star Wars creator announced back in 2005 that he'll be converting the space opera into 3-D, just as soon as there are enough theaters to make it worthwhile.

Studios have 'Monster' 3-D vision [Variety]

We reviewed Terra last year at the Tribeca Film Festival (warning: spoilers). Bottom line: the storyline strains credulity a bit, especialy the ending, but a lot of the visuals are gorgeous. I'm especially intrigued to see it in 3-D.

[Sci Fi Cool]

Smell-O-Vision
Admittedly, bringing back the ability for the audience to smell a movie as well as see and hear it would have to be used sparingly; I doubt that many people would pay money to live the oily odor of Michael Bay's Transformers 3-D or whatever. But now that 3-D has proven itself to be reborn thanks to new technology, it's probably only a matter of time before some studio goes back to the well that brought us Scent of Mystery and the "Odorama" version of John Water's Polyester. After all, Japanese audiences have suffered through the scent of Colin Farrell as recently as 2006, so it's not as if the technology isn't there...

Percepto
It's the ultimate in audience participation; terrifying your viewers through physical means. William Castle created Percepto and made the one and only movie that used the gimmick, The Tingler. Unknowingly for the audience, the director had seats in theaters wired with small vibrators that, at a particular point in the movie, would make the seat shudder as if the person sitting in it was being attacked by the Tingler themselves. True, this idea may have limited use for horror movies today - not so much tingling being offered by today's monsters, after all - but I'm sure some enterprising producers somewhere can think of exciting new uses for chairs that vibrate on cue.

(A completely pointless, personal, aside; I was convinced that the UK theater release of the original Battlestar Galactica had some similar gimmick, when I was a kid; I remember the seats vibrating when the Vipers were launched. Years later, someone pointed out a more obvious solution: That the sound of the launch made the rickety seats shake because it was a crappy theater. Somewhat heartbreaking.)

Illusion-o
Another William Castle invention, "Illusion-o" used something similar to oldschool 3-D technology to change the movie you were watching. Viewers who watched 13 Ghosts with the special glasses provided could see ghosts that were otherwise invisible to those watching without the glasses. I have to admit, I'd love for someone to bring this one back for modern audiences, because I love the idea of audiences in the same theater being able to experience entirely different movies for reasons other than they had read the original graphic novel or not.

Multiple Endings
No, I don't mean in the Return of The King sense where you just wanted the movie to be over already; I'm talking about actually having different endings available to an audience in a theater. Clue, famously, used this trick when in theaters, offering three different endings depending on what theater you were watching in. William Castle (again!) went one better with Mr. Sardonicus, which let audience members choose whether or not a particular character died, with different endings available depending on their decision. Considering all of the technology available now - not to mention the various "alternate endings" that appear on DVDs - I can't believe that this one hasn't made it back to theaters yet. Give me a chance to see Kirk die at the end of May's Star Trek, dammit!

Silent Movies
It may seem counter-intuitive in the era of THX surroundsound and all of the other technology that tries to convince your ears that you're actually in the middle of the movie and that Seth Rogen is actually right behind you, but think about it for a second; how many times have you seen a movie that's had a decent plot, amazing special effects and absolutely lousy dialogue or performances? Silent movies would solve that problem by removing the need for dialogue altogether. You don't even need to have a really silent movie; you could keep in all the sound effects, and just remove the dialogue (or push it onto subtitles or caption cards at appropriate times). You're thinking it's a stupid idea right now, but go and watch the start of Wall-E before coming back to admit that, just possibly, it might work after all. After all, what's the alternative for a more involving cinema experience? Building an even bigger IMAX screen?

It looks like Gallaxhar takes Ginormica prisoner at some point and rants to her about his plans for universal domination? I think that scene with the pink bars and stuff shows up in the trailer as well. And Ginormica takes her fellow monsters, including Dr. Cockroach PhD (Hugh Laurie) and B.O.B. (Seth Rogen), to meet her parents. Awww. Plus Ginormica seems to become pretty friendly with General W.R. Monger (Kiefer Sutherland).

Monsters Vs. Aliens is in theaters March 27, in 3-D.

A source tells 3-D movie blog MarketSaw there's a 12-minute-long sequence where you see through the eyes of someone running through the forests of the planet Pandora in one of the "Avatars" that let humans walk around in an alien body. Apparently "your brain will melt" when you - the audience member - are running through the 3-D jungles of Pandora and "their tails are moving in front of your face."

And someone in Germany says he/she already saw a three-minute clip that included part of this sequence. In it, your first-person narrator runs along on a root, and then the root comes to an end, and the person jumps onto another root and keeps running. And the trees look as tall as skyscrapers and it's dusty and dark.

A second clip shows a convoy driving through a canyon, and then a few big rocks roll into the canyon. And a third clip shows the inside of a huge, massive mushroom with a crystal in the middle. Whoa.

Also MarketSaw's source says Avatar is "like Aliens, but from the POV of the Aliens."

[MarketSaw]

There's a lot to like here, including super-splashy space battles that will probably look great in 3-D, and a dark storyline about a destroyed Earth. But the style of the animation, and the excessively loveable aliens, leave me a bit cold.

We reviewed Battle For Terra last May, when it was still called just plain Terra and it debuted at the Tribeca Film Festival. (The review is very spoilery, so be warned.) Short version: cute aliens, even cuter robot, but it gets super dark and weird with all the space battles, and the ending is hard to swallow. As we pointed out, this film is part of a mini-trend of movies where humans are the invaders and aliens are forced to defend their homelands from us.

It also seems like a very post-Wall-E movie: a grim post-apocalyptic future in which humanity is cast out into space, but somehow made palatable by extra loads of cuteness. [Giant Freakin Robot]

After seeing a large chunk of the movie's first third, I'm still pretty excited. The voice performances, by talents like Reese Witherspoon and Kiefer Sutherland, are just as fun as you'd expect. The movie is jam-packed with silly in-jokes and ridiculous sight-gags, at least half of which are genuinely super funny. I'd say it's not quite as great or memorable as The Incredibles, but several heads better than 99 percent of other animated films.

Here's my rundown of the scenes we got to see:

First scene:

A 350-foot tall alien robot has landed in Modesto, CA, as a reporter explains. The president (Stephen Colbert) tries to confront the giant robot, which has a single swiveling blue eye. The president leaves his guards behind and ascends a giant staircase that leads up to the alien's eye. At the top he plays a big synthesizer. (First he plays the musical message from Close Encounters, then "Axel F" from Beverly Hills Cop. All the soldiers and government spooks dance, stiffy.)

The Prez seems to be getting through! The alien puts out a little protruding item, like a communcations device. Colbert tries to shake hands with it — but it smashes his synthesizer. The robot sprouts massive legs and starts to walk.

The president barely manages to get away, and tells an army captain, "Do something violent." The army complies, but to no avail, and everyone has to withdraw. On his way out, the president pulls out a big gun and shouts, "Eat lead!" (No good. As the president says, "Turns out it eats lead.") Then the president lets himself be carried off, insisting that he's a brave president.

The missiles launched against the alien robot include one that says "E.T. Go Home" in giant letters.

Then we see a guy running to get into the secret bunker where the president is meeting with all his top advisors, and he has to get his eyes, hands, feet, and butt scanned to get in.

The president has two giant red buttons: one of which launches every nuclear weapon in the country, the other of which makes a latte. (Who designed that ridiculous system? he demands. And then it turns out it was him. In which case, of course it makes sense.) The president keeps almost pressing the wrong giant button, either by accident or because he's panicking. ("Damn good cup of joe," the president says.)

Just when all seems lost, General W.R. Monger (Sutherland) shows up and suggests a solution. (The bit you've seen in the trailer where he says "We need a hail mary pass, we need raw power, we need... monsters.")

He runs through a round-up of all the monsters and their origins. (The killer blob B.O.B. (Seth Rogen) is the result of an experiment in a fast-food factory involving ranch dressing and candy. Insectosaurus was irradiated and became giant, attempting to destroy Japan.) When each monster is shown, one woman in the room screams in a theatrical B-movie fashion.

Finally, she's dragged out of the room, but we still hear a scream when Ginormica's origin is revealed — it's the president.) One nerdy guy asks if we really want to have a monster problem added to our alien problem, and General Monger gives him a horrendous wedgie. The president gives the go ahead for the monster plan.

Second scene:

Susan Murphy (Witherspoon), the gigantic woman known as Ginormica, is asleep in her cell, when an alarm begins to sound. She thinks it's her honeymoon and asks her new husband to press the snooze button — then she wakes up and realizes she's actually giant, and her wedding never finished. (She suddenly turned giant on her wedding day after being hit with a meteor, as you probably saw in the film's trailer.)

Then the cell suddenly turns into an elevator and starts shooting down. She finds herself in a huge hangar in Area 52, where mysterious voices speculate on whether she's just a giant pair of legs or something more. A pile of gloop drops onto a table, and a shape scuttles out and hides behind it. The insect-man genius Dr. Cockroach, PhD (Hugh Laurie) pops out and introduces himself, and Susan tries to squish him in a very Bugs Bunny-esque sequence. "My brain will be in the Smithsonian some day, let's not ruin it, shall we?" he implores. Gradually, she meets the other monsters: the gelatinous B.O.B., the half-fish Missing Link (Will Arnett), the gigantic Insectosaurus, whose roar only makes sense to the Missing Link.

B.O.B. thinks Susan is a boy, and says "Look at his boobies! B.O.B. has no brain and says it's overrated. Then he forgets how to breathe, and Dr. Cockroach has to explain it to him.

They all get their food — nasty fish for the Missing Link, garbage for Dr. Cockroach and a giant ham bone which dissolves inside B.O.B.'s see-through flesh.

Susan tells the monsters her name, but they want to know her monster name. She says, "Susan." And they're all like, no, what do people scream when they see you coming, "Oh my god, it's —" And she's still like, "Susan." "Oooh, Sooosan," says B.O.B. And then he decides it is a scary name after all. "I just scared myself."

General W.R. Monger turns up in a flying jetpack harness, and tells all the other monsters to go back to their cells. Insectosaurus gets led around via a giant lamp that he stares at. Susan is thrilled to meet another real human — until she worries that the general is really one of those half-machine, half-human things. "A cyborg," the general says helpfully. "Aaaaa you're a cyborg!" she screams.

Third scene:

The monsters go to confront the giant robot probe in San Francisco. Ginormica gets chased down the street, and runs across the rooftops. She falls down one slanted rooftop, and hangs by her fingernails — and then she only falls! But she only falls a few feet because, duh, she's giant. And B.O.B. gets stuck to the underside of the robot's foot, and grabs a hot dog cart off the street for a snack.

Meanwhile, Dr. Cockroach, PhD has fitted a cable car with rockets, and is zooming down the street with the Missing Link. He tells the Link he'll pull up alongside the robot, and the Missing Link can get up inside it and access the control center. But just as they reach the robot, B.O.B. comes flying into the cable car, knocking the other two over. They go whizzing down the street until they land in the water.

Susan, meanwhile, has turned a couple of cars into improvised roller skates, and she's running away. She reaches a group of people trying to escape the city in their cars, so she has to dodge and weave around them while going a zillion miles per hour. And then the robot shows up when she reaches the Golden Gate Bridge, and starts smashing everything. She's trying to fight the robot and help the people get to safety. The other monsters (except Insectosaurus) show up and tell her she's doing great. "I'm doing everything!" she shouts.

Dr. Cockroach, PhD, runs up inside the machine's crushing mechanism, because nothing can crush a cockroach. He manages to reach a control mechanism. He puts two wires together — and only succeeds in generating a beam that hypnotizes Insectosaurus, who's shown up to fight it. The Missing Link is knocked out, so Susan tries to get B.O.B. to help. "Oh, sorry, I was just looking at that bird," B.O.B. says. She tells him to get the people out of there, so B.O.B. tries to pick up the cars and throw them off the bridge. "No!" she says. "Move the dividers!" B.O.B. starts eating the dividers on the bridge, so people can drive into the opposite lane and drive away.

Overpowered by the robot, Susan almost gives up, but then she gives herself a pep talk and rallies. She manages to knock the robot over so that part of the bridge comes down and slices it in half.

Most of Katzenberg's presentation had to do with the development of the InTru 3-D system. Proper 3-D film (as opposed to the clunky 1950s version) is the third great advance in film-making, after sound and color. From now on, every Dreamworks animation movie will be conceived, from the earliest storyboards, in 3-D.

I asked Katzenberg about the comic book Rex Havoc And The Ass-Kickers Of The Fantastic, which was rumored to be where some of the ideas in Monsters Versus Aliens came from. Said Katzenberg:

Rex Havoc is something that we did option, some many years ago. And that does have a monster hunter, I think, at its core. But the filmmakers, Rob Letterman and Conrad Vernon... actually ended up creaing [MVA] from scratch. And so I think the similarities between those are fairly distant.

During the Q&A after Katzenberg's presentation, people asked why CG animation in these sorts of movies is not more photorealistic. Katzenberg replied that at $150 million a movie, CG animated films are much more expensive than just pointing a digital camera at actors. So in animation, it's better to go for "heightened realism."

Katzenberg also said he's seen a few minutes of James Cameron's 3-D epic Avatar, and it was amazing. And he admitted that the financial crisis has slowed down the financing of 3-D-enabled movie theaters, meaning there are a lot fewer screens available than everyone had predicted this time last year. So even though Katzenberg insisted every movie would soon be in 3-D, it might take a little longer than he'd hoped.

These items come from Blacklund’s 2009 Pool Position collection and are handcrafted from wool. It’s probably not the most practical material for fighting intergalactic evil, but at least you’ll look good doing it.

[Sandra Blacklund via today and tomorrow]

The Mars Express photos have a resolution of less than four meters per pixel, and they cover the entire surface of Phobos. This gives scientists an unprecedented look at the spudlike satellite. Next year, a Russian mission with the awesome name "Phobos-Grunt" will land there and take soil samples before returning to Earth.
I actually didn't have a pair of 3D glasses handy, so hopefully this looks as cool as I'm hoping it does. Is Phobos hurtling out of your screen at you while a cheesy Aerosmith song plays in the background? Check out the full-size (i.e., truly enormous) images here. Images by: ESA.

Mars Express Acquires Sharpest Images Of Martian Moon Phobos. [Science Daily]

According to ComingSoon, Jeffrey Katzenberg confirmed that George Lucas is looking to repurpose the six Star Wars episodes into the 3-D format. And Ain't It Cool News reports that footage already debuted many years ago of a 3-D Episode IV that was breathtaking. Neat, but why so much with the 3-D? I feel like Hollywood is desperately pushing the 3-D craze down audiences' throats just because the Hannah Montana concert in 3-D was so popular. Sorry, Brendan Fraser, we can't all be Miss Montana.

You don't go to a movie where people fight dinosaurs and fall through giant lava tubes deep into the Earth expecting to find yourself in a tightly-wrapped little story with deliciously good quips. Probably you're there for the 3D roller coaster rides (there is one of those) and water slides (one of those too). But what sneaks up on you as you watch this movie is how intelligently put together it is: Not too long, always snappy, it doesn't mire itself in meaning or tacked-on emotional subplots (though there actually is a touching subplot about fatherhood).

Frasier specializes in himbo-with-a-heart-of-gold roles — he's one of a very few actors who can actually pull off being hunky and smart at the same time. And that's just what he has to do in this tale of Trevor, a tectonophysicist (i.e., a guy who studies earthquakes) whose dry research takes him into an amazing lost world. I think what makes this flick the perfect vehicle for Frasier, who actually worked quite a bit on the script, is its goofy science humor. With his nephew Sean in tow, Trevor sets off to find his missing tectonophysicist brother (Sean's dad), who it turns out was secretly a Vernian. Yes, a Vernian. In this flick, there is a secret cabal of scientists who believe that Jules Verne's science fiction novel Journey to the Center of the Earth was actually ALL TRUE. There's a great moment when Trevor shoves the original Verne book right into your face, in full 3D mode, just to emphasize the freakiness of it all.

Things just get sillier and more fun from there. Trevor and Sean go to Iceland's Ásgeirsson Institute for Progressive Vulcanicity, which is probably the best name I have ever heard for any research institution. There, they meet up with ass-kicking mountain guide Hannah, who winds up helping them escape from scrapes with sea monsters and lava flows and other pesky aspects of life beneath the planet's crust.

Once we do make it to the strange land of giant mushrooms, dinosaurs, and glowing birds that rests improbably in an "air bubble" inside a lava flow inside the Earth's core, the film gives us exactly what we want. Long shots of the bizarre landscape, crazy rides on ancient mine trains, and a zany fistfight with meat-eating plants. Again, I think it's crucial here to emphasize that the writing is part of what makes this work. Eye candy is great, but too many filmmakers get so carried away with showing off their effects that the story never takes us anywhere. Here, director Eric Brevig knows when we're done with caring about dino effects, and want to see something else.

In Journey, with a few short brushstrokes, we get a meaty quest tale with characters who (delightfully) never take themselves entirely seriously. When the action slows, we get a new strange hurdle, like sea monsters or a bunch of rocks floating in a "magnetic field." And in between the zaniness, there's a genuinely warm connection that develops between Trevor and Sean, who are both mourning the loss of the same man: Trevor's brother and Sean's father. Still, we don't linger on that for too long. There are a couple of brief scenes that are a bit weepy, but mostly we get a lot of fun mega-science style problem solving.

And can I just say that this movie managed to deliver some of the greatest mega-science moments ever? Seriously, riding a T-Rex skull through the earth on top of a giant geyser on top of a giant volcano? I could watch that again and again. Plus, I love a movie with a scientist hero, whose goal in life isn't to plunder treasure but just to get people interested in tectonophysics.

In an interview with Superhero.com, Nolan expresses his disinterest in the 3D craze:

I’m interested in the massive canvas, seeing that larger-than-life canvas that IMAX gives you, and you create a massive quality by the clarity and the size and brightness of the images. So that gives you a great physical sense, like you would get in a 3D movie, but it doesn’t diminish the scale of it. So you’re still dealing with a huge, larger than life canvas, that I think is the best way to use that format. I also hate wearing those glasses.

Charlotte Huggins, the producer of Dragons and also producer of 3D pictures Journey to the Center of the Earth and Fly Me to the Moon called the change a challenge. "4K [IMAX] is the next challenge ... and the special venue really pushes the envelope," she said.

How many other producers and directors will be abandoning 3D craze and hefting the massive cameras required to shoot a film in 4K.

James Cameron is still intent on playing in both sides of the pool. Never officially stating that he will be releasing Avatar on IMAX but still hinting at the possibility.

So what will happen to our dear little indie house theaters? Will they go the way of the Drive-In making ways for massive IMAX screens and a plethora of strained necks, bad backs and headaches formed by overstimulated corneas? Gone will be the days of pre-drinks before the movie. Have you ever tried to watch an IMAX movie after a bottle of red? Not a good idea.

[Hollywood Reporter]