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‘Live Forever!’ Remembering Sci-Fi-/Fantasy Legend Ray Bradbury

Acclaimed, Pulitzer-honored science fiction/fantasy author Ray Bradbury has died at the age of 91 in Los Angeles, following one of the most fruitful creative writing careers of the 20th century. The man behind such genre classics as Fahrenheit 451 , The Martian Chronicles , Something Wicked This Way Comes leaves behind a stunning legacy spanning works adapted for television, film, and the stage. It’s difficult to quantify the impact that Bradbury had on the worlds of science fiction, literature, and the numerous film and television adaptations that sprang from his seven decades of writing, not to mention the generations of sci-fi and fantasy lovers weaned on his tales. The man had an asteroid and a moon crater named in his honor, for goodness sake, had dozens of his stories adapted for stage, film, and television, and never went to college. For a child growing up with Bradbury’s stories, the world was filled much more with wonder. For an adult, his tales prompted deeper introspection. It Came From Outer Space : Icarus Montgolfier Wright : Something Wicked This Way Comes : Bradbury on his Fahrenheit 451 : Folks will have their own cherished Bradbury moments, but I’ll leave you with one of my favorite of his real life stories. Writing in 2001, Bradbury shared the childhood incident that inspired him to become a writer in the first place: A chance meeting with a carnival magician named Mr. Electrico in 1932 following the death of Bradbury’s uncle. Mr. Electrico was a fantastic creator of marvels. He sat in his electric chair every night and was electrocuted in front of all the people, young and old, of Waukegan, Illinois. When the electricity surged through his body he raised a sword and knighted all the kids sitting in the front row below his platform. I had been to see Mr. Electrico the night before. When he reached me, he pointed his sword at my head and touched my brow. The electricity rushed down the sword, inside my skull, made my hair stand up and sparks fly out of my ears. He then shouted at me, “Live forever!” I thought that was a wonderful idea, but how did you do it? The next day, being driven home by my father, fresh from the funeral, I looked down at those carnival tents and thought to myself, “The answer is there. He said ‘Live forever,’ and I must go find out how to do that.” I told my father to stop the car. He didn’t want to, but I insisted. He stopped the car and let me out, furious with me for not returning home to partake in the wake being held for my uncle. With the car gone, and my father in a rage, I ran down the hill. What was I doing? I was running away from death, running toward life. When I reached the carnival grounds, by God, sitting there, almost as if he were waiting for me, was Mr. Electrico. I grew, suddenly, very shy. I couldn’t possibly ask, How do you live forever? But luckily I had a magic trick in my pocket. I pulled it out, held it toward Mr. Electrico and asked him if he’d show me how to do the trick. He showed me how and then looked into my face and said, “Would you like to see some of those peculiar people in that tent over there?” I said, “Yes.” He took me over to the sideshow tent and hit it with his cane and shouted, “Clean up your language!” at whoever was inside. Then, he pulled up the tent flap and took me in to meet the Illustrated Man, the Fat Lady, the Skeleton Man, the acrobats, and all the strange people in the sideshows. He then walked me down by the shore and we sat on a sand dune. He talked about his small philosophies and let me talk about my large ones. At a certain point he finally leaned forward and said, “You know, we’ve met before.” I replied, “No, sir, I’ve never met you before.” He said, “Yes, you were my best friend in the great war in France in 1918 and you were wounded and died in my arms at the battle of the Ardennes Forrest. But now, here today, I see his soul shining out of your eyes. Here you are, with a new face, a new name, but the soul shining from your face is the soul of my dear dead friend. Welcome back to the world.” Why did he say that? I don’t know. Was there something in my eagerness, my passion for life, my being ready for some sort of new activity? I don’t know the answer to that. All I know is that he said, “Live forever” and gave me a future and in doing so, gave me a past many years before, when his friend died in France. Leaving the carnival grounds that day I stood by the carousel and watched the horses go round and round to the music of “Beautiful Ohio.” Standing there, the tears poured down my face, for I felt that something strange and wonderful had happened to me because of my encounter with Mr. Electrico. I went home and the next day traveled to Arizona with my folks. When we arrived there a few days later I began to write, full-time. I have written every single day of my life since that day 69 years ago. I have long since lost track of Mr. Electrico, but I wish that he existed somewhere in the world so that I could run to him, embrace him, and thank him for changing my life and helping me become a writer. Live forever, indeed! Read the full entry here and leave your own Bradbury celebrations below.

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‘Live Forever!’ Remembering Sci-Fi-/Fantasy Legend Ray Bradbury

Elvis to "Appear" in Film & TV, IFC Midnight Goes Antiviral: Biz Break

Also in Wednesday afternoon’s quick news roundup, The Hobbit is set to premiere in Down Under later this year, Paul Rudd and Emile Hirsch complete a “secret” indie and Captain America 2 appears to have found its directors. Also up is news on a network starring Asian Americans and Universal chief Ron Meyer heads to UCLA festivities. IFC Midnight Takes Rights to Antiviral U.S. rights to Brandon Cronenberg’s Cannes debut Antiviral have been picked up by IFC Midnight. The film, also with a screenplay by Cronenberg, stars Caleb Landry Jones, Sarah Gadon, Douglas Smith and Malcolm McDowell. The film follows “Syd March, an employee at a clinic that sells injections of live viruses harvested from sick celebrities to rabid fans. Syd supplements his income by selling illegal samples of these viruses on the black market,smuggling them out of the clinic in his own body. When he becomes infected with the disease that kills superstar Hannah Geist, Syd becomes a target for collectors and obsessed fans. Arianna Bocco, Senior Vice President of Acquisitions & Productions of Sundance Selects/IFC Films negotiated the deal with Gregory Chambet of TF1 International. Asian Americans Take Spotlight in Network’s Film Fest Mnet , the first national, 24/7 English-language television network in the U.S. for all things Asian, kicks off the third season of Short Notice with a film festival that allows fans to select their favorite short film created by and starring Asian Americans . As one of Mnet’s original programming series, the show premieres on Wednesday, June 13 at 8 p.m. ET/PT with new host George Wang. Universal Chief Ron Meyer to Deliver UCLA Commencement Ron Meyer, Universal Studios President and COO, will be the 2012 Commencement Speaker for this year’s UCLA School of Theater, Film and Television’s (TFT) commencement ceremony.  Recipients of TFT’s 2012 Distinguished Alumni Awards are director and screenwriter Penelope Spheeris for Film and Shirley Jo Finney, the award-winning international director/actor, for Theater, both of whom will receive their awards at the ceremony. UCLA Names New Chair of Dept. of Film, Television, and Digital Media William McDonald, award-winning cinematographer and professor, has been appointed the new Chair of the Department of Film, Television and Digital Media (FTVDM) at UCLA School of Theater, Film and Television (TFT) and will assume his new position on July 1st. GKids Takes Rights to Japan’s From up on Poppy Hill GKIDS is handling theatrical, home video, television and VOD rights and will qualify the film for the Academy Awards in the Best Animated Feature category. Directed by Goro Miyazaki, the film is set in Yokohama in 1963, about a high school couple’s innocent love and the secrets surrounding their births. The story takes place in a Japan that is picking itself up from the devastation of World War II and preparing to host the 1964 Olympics. GKids plans a March 2013 release. Around the ‘net… Elvis will Appear in Film and TV – Virtually CORE Media Group, which owns the Elvis Presley brand, has signed a deal with digital production company Digital Domain Media Group to develop, produce a series of “virtual” Elvis Presley apparitions for film and TV projects, Deadline reports . The Hobbit to Debut November in New Zealand The screening at Wellington’s Embassy Theatre will take place two weeks ahead of the film’s release on 14 December. Oscar-winning Lord of the Rings director Peter Jackson said it was fitting to hold the premiere “where the journey began.” Based on the novel by J.R.R. Tolkien, The Hobbit is set 60 years before the Lord Of The Rings trilogy of films, BBC reports . Paul Rudd and Emile Hirsch Complete ‘Top Secret’ Indie The actors worked on Prince Avalanche by writer-director David Gordon Green, based on Hafsteinn Gunnar Sigurosson’s Icelandic comedy Either Way . The film revolves around two men whose lives intersect while working on a road striping crew together. Green and his longtime collaborators Lisa Muskat and Craig Zobel produced the film with James Belfer and Derrick Tseng, Variety reports . Russo Bros. Appear to be Headed to Captain America 2 Anthony and Joe Russo are close to signing on to direct the Captain America sequel for Marvel. The Russo’s credits include You, Me & Dupree and NBC’s comedy Community , THR reports .

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Elvis to "Appear" in Film & TV, IFC Midnight Goes Antiviral: Biz Break

First Official Image of Lindsay Lohan As Elizabeth Taylor in Liz & Dick

Yep, it’s happening. A week and change after finding their Dick Burton among True Blood ‘s werewolf population, Lindsay Lohan and the makers of Lifetime’s Liz & Dick have released the first production image from the romance-biopic. And, well… it’s kind of shockingly classy. If you squint, LiLo and Grant Bowler actually kinda sorta look like the iconic couple. Anyone else pleasantly surprised? According to E! , who’s documenting La Lohan’s would-be comeback with the same aplomb as it did her shaky past few years, the still was shot last week while filming officially began today. Over to producer Larry Thompson for the oversharing update: Thompson tells E! News that the first scenes were shot this morning starting around 9:30 AM and they were of Liz and Dick on a yacht (docked at Marina del Rey). He also reveals that the cast was in good spirits: “A little first-day jitters for everyone, but it went well,” he revealed, while adding that Lindsay was in a good mood as well. I’m still getting over how much Lohan resembles Taylor, even at an angle and in profile and doused in heavy eye make-up. Then again, this is the very first day of filming , people. A little early to call this one — the biopic is set to air on November 3 — but ever so promising… [via Deadline ]

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First Official Image of Lindsay Lohan As Elizabeth Taylor in Liz & Dick

Ridley Scott Turns to Moses, Amazon Studios Bring Zombies to Rome: Biz Break

Also up for Tuesday morning’s new round up, Oscilloscope picks up a SXSW selection, MTV Movie Awards suffers a decline in ratings. Foo Fighters drummer Taylor Hawkins readies for the camera to play the role of a rock legend and Venice taps an Italian actor to lead its Horizons jury. Oscilloscope Nabs SXSW Doc Tchoupitoulas Pronounced “Chop-Ih-Tou-Less,” the New York-based specialty distributor picked up North American rights to the feature directed by Bill and Turner Ross. The film is described as a “lyrical documentary that follows three adolescent brothers as they journey through one night in New Orleans, encountering a vibrant kaleidoscope of dancers, musicians, hustlers, and revelers parading through the lamplit streets.” The deal was finalized at the recently completed Cannes Film Festival. David Laub and Dan Berger of Oscilloscope negotiated the deal with George Rush on behalf of the filmmakers. The film is produced by the Ross Brothers along with Michael Gottwald, Dan Janvey, and Josh Penn of Court 13. 1st Look East: Korean Film Festival Takes Shape Grauman’s Chinese Theatre in Hollywood will be the home of the first annual event celebrating Korean cinema June 23 – 24. A 3D version of cult favorite The Host is on tap to join the roster of ten films, including U.S. premieres Flower in Hell and A Hometown in My Heart . Around the ‘net… Next Up for Ridley Scott: Moses The Prometheus director had some choice words for religion – all religions – and let it slip that he will direct the film about the Biblical figure, noting, “I probably shouldn’t have let that slip out. I’m not supposed to say anything. It’s definitely in the cards though…” Esquire reports . Amazon Studios to Conquer Rome with Zombies The studio has tapped Clive Barker to re-write and direct Zombies vs. Gladiators in which a shaman who faces death in the Coliseum casts a spell creating the world’s first zombies. But a gladiator steps in to try and end the zombie menace and save Rome, Deadline reports . MTV Movie Awards Takes a Hit The zany awards show saw a 28% decline in the 12 – 34 age range, perhaps a victim of the waning Twilight craze, Deadline reports . Foo Fighters Drummer to Play Iggy Pop Taylor Hawkins will play rock legend Iggy Pop in the upcoming rock film CBGB . Also joining the cast are The Big Bang Theory ‘s Johnny Galecki as music manager Terry Ork and portraying Patti Smith will be The Borgias actress Mickey Sumner, THR reports . Favino to Preside over Venice’s Horizons Jury Italian actor Pierfrancesco Favino ( Angles and Demons ) will lead the Venice Film Festival’s cutting-edge Horizons section. Venice’s new artistic director Alberto Barbera has tightened the Horizons section’s lineup to 18 feature films, including some docs, representing “the latest trends in global cinema,” Variety reports .

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Ridley Scott Turns to Moses, Amazon Studios Bring Zombies to Rome: Biz Break

Yes, But What Does the First Photo from Iron Man 3 MEAN?

You may look at this first photo from the set of Iron Man 3 and think, “Gee, Tony Stark has a lot of toys.” I look at it — a shot of Robert Downey Jr. as Stark, gazing at his wall of Iron Man suits in a lab/Hall of Ego scattered with gadgets and gizmos aplenty — and remember I need to do laundry. Also, I need a bigger closet. Why does Tony Stark have so many wardrobe options? On the flip side, you could go way into depth surmising what all this hardware means, as EW’s Anthony Breznican does: It’s a big responsibility for whomever — we presume Stark’s automated butler JARVIS — to guard this stuff. Although Marvel Studios hasn’t released details of the plot, if you couple this official image with paparazzi shots last week revealing the Iron Patriot, a character using stolen Stark tech who literally wraps his armor in the flag to justify his actions, we may be seeing the issue of proliferation rising again for ol’ Tony. Sure, sure. But wait… what could this one face-obscured behind-the-scenes shot mean for the meaning of Iron Man 3 ? What comes next could be too powerful even for Stark to control. If rumors are true that Iron Man 3 filmmaker Shane Black ( Kiss Kiss Bang Bang ) is taking his cues from the Iron Man comic series Extremis , which deals with nanotechnology injected directly into human beings to make them more powerful, then it’s no longer a matter of who is inside the weapon than what kind of weapon is inside the person. And that next case on the wall, which looks eerily like a row of coffins now, would have to contain Tony Stark himself . WHOA. Way existential, man. Who agrees? Who’s excited? Who’s wondering if we’re really butt-gazing at RDJ’s stand-in while the real RDJ is over snacking at craft services? [ EW ]

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Yes, But What Does the First Photo from Iron Man 3 MEAN?

REVIEW: Prometheus, Big Yet Inelegant, Groans Under Its Own Weight

People with a strong sartorial sense know the difference between what’s elegant and what’s merely elaborate. It’s not the same in the movie world, where big and overcomplicated is so often mistaken for better, when really it’s only…big and overcomplicated. Ridley Scott ’s Prometheus , designed as a sort-of prequel to the director’s 1979 terror-in-space aria Alien , is elaborate all right. But it’s imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn’t feel like a cheap grab for our moviegoing dollars – but it doesn’t inspire anything so vital as wonder or fear, either. Prometheus has been one of the most anticipated pictures of the summer, but its lackluster payoff is summed up perfectly by one of its chief characters, a scientist who travels a long way from Earth in the hope of meeting the allegedly superior beings who created us humans: “This place isn’t what we thought it was.” [ Some spoilers follow. ] That character, Elizabeth Shaw ( Noomi Rapace ), is an archeologist who, in one of the movie’s early scenes, circa 2089, stands hand-in-hand with her partner and beau Charlie Holloway (the exquisitely, painfully dull Logan Marshall-Green ) as the two gaze in wonder upon an Earth cave drawing they’ve just discovered. The pictogram shows a couple of unearthly creatures standing tall and pointing at something-or-other. Are they gods who created us, or just random visitors? Shaw thinks they may be the former, and she’s eager for a meet-and-greet. “I think they want us to come and find them,” she says, voicing one of those really bad ideas that make the world of science fiction go ’round. Before long the two have joined a crew of 15 others, all headed to an undisclosed destination in space where they will freely and joyfully act upon yet more bad ideas, including packing a severed alien head into a space baggie and reaching out to touch a slimy tadpole-penis-head thing. But let’s not get ahead of ourselves. The others aboard the all-too-appropriately named Prometheus include a tall, icy businesswoman named Vickers ( Charlize Theron ), a representative of the corporate behemoth that’s funding the trip; the ship’s captain, Janek (played by the appealing, casual Idris Elba); David ( Michael Fassbender ), an android a la Ian Holm’s character in Alien , who has learned a healthy handful of ancient languages as a way of possibly communicating with whatever godlike forebears the crew may encounter; and a random Asian guy who wanders around idly in the background of a few shots until, inexplicably — mini-spoiler alert — he becomes one of the story’s heroes. (This disposable Asian is played by Benedict Wong, who also appeared in Duncan Jones’ 2011 Moon .) There are a bunch of others – including some dumb geologists/biologists (Rafe Spall and Sean Harris) and a doctory-scientist type (Kate Dickie) – but the cast of Prometheus suggests that 17 crew members on a movie space ship is about 10 too many. (The Nostromo , after all, carried 7, and Scott and writer Dan O’Bannon made it easy to distinguish one from another.) But Prometheus , both ship and movie, is overloaded in every way: Scott and screenwriters Jon Spaihts and Damon Lindelof have packed the picture full of noble themes, most of them having to do with the way our yearning to understand the unknown jostles uncomfortably against our desire to explain everything through science. “I just want answers, babe,” the logic-mongering Holloway tells the dreamier Shaw, though this is before – and here, take note of another mini-spoiler alert – a wriggly wormlike thing starts poking out of his eyeball. What do Shaw and the others discover on the mysterious planet to which they’ve trekked? They make their way into a cave where the air is actually breathable – they lift off their bubble helmets and take in deep gulps of the stuff, which seems inadvisable, but what the heck? Deep in the cave’s recesses they find a magnificent hallway replete with majestic murals and a large sculpture surrounded by a formation of conga drums covered with sweaty spores. Prometheus features a host of effects designed to make you say, “What the heck?” and yet none of it stirs real curiosity, awe or dread. The crew also encounters, of course, some variations on the magnificent spoodly pinky-gray creatures designed by H.R. Giger for the earlier Alien pictures. Perhaps these thingies are supposed to be bigger, more impressive and more realistic, whatever that might mean. Yet there’s a business-as-usual quality about them, and they herald their presence openly rather than lurk menacingly in the shadows, as if announcing cheerfully, “You expected to see us, and here we are!” That’s not to say there aren’t some lovely effects in Prometheus , including a sequence in which a group of hologram ghosts appear as shimmery dots and dashes of light – they rush toward and through our intrepid explorers, on their way to, or away from, something. But we never find out who they are or what they’re running toward or from. In fact, there are dozens of loose ends in Prometheus , hanging like so many squirmy, dangly tails. Fassbender’s android commits a significant, malicious act for reasons that are never made clear: We know he has no soul, and thus probably no conscience, but his actions seem like the result of some deeply human traits — Scott never bothers to explain. The geography of the ship is carelessly delineated: Creatures show up in one passageway or another – it’s never clear what room or area they’re coming from. One of these slimy, willfully malevolent wrigglers emerges at a significant climactic moment, and it’s unclear whether it’s a random critter or a larger version of a baby we’ve seen earlier – the lapse represents a missed opportunity, a possible means of fleshing out some of the movie’s ideas about the relationship between gods and the creatures they create (or destroy). Scott is trying to make sure Prometheus is about something, and his ideals may have distracted him from the more prosaic task of just getting on with the storytelling. When Brian De Palma presented, with Mission to Mars , a much more passionate, and more narratively sound, version of this sort of interplanetary spiritual idealism, it was treated as a “bad” science fiction movie. Prometheus , on the other hand, is tasteful even in the midst of all its squirm-inducing gross-outs, and that’s a liability: It’s impossible to have tasteful passion. The actors mostly seem lost here: Rapace comes off as a doll-like naïf, pretty but wholly lacking in charisma or even science-fueled ardor. Guy Pearce appears in heavy age makeup which, if you ask me, is a total waste of a perfectly good Guy Pearce. Theron and Fassbender have much more presence: Theron, at least, gets to suit up and fire a flamethrower – the vision of her big bubble-helmeted head perched upon a body that seems to consist mainly of two lily-stem legs is something to behold. And Scott gives Fassbender the quietest, most poetic sequence in the movie: Early in the picture, the robot David wanders the ship while the rest of the crew are still deep in their hypersleep dreams. He busies himself with assorted tasks, and then sits down before a massive wraparound screen, where he watches Lawrence of Arabia with rapturous admiration. David finds a physical, if not spiritual, twin in O’Toole’s T.E. Lawrence, a model for the man he’d like to be, if only he were a man at all. But Scott doesn’t, or can’t, sustain the eerie, resonant beauty of that sequence. Prometheus isn’t a piece of junk. It feels as if Scott has tried very hard to please us, his audience, in an honest if costly way. He surely knows how high the stakes are: With Alien , Scott gave us one of the great science-fiction films of all time, a picture that was at once glorious and austere; when I looked at it recently, I was struck by how wonderfully slow-moving it was, and yet every minute is taut. But Prometheus is a world apart, a far more unwieldy picture that tries hard to defy this new, noisier age of movies and doesn’t have the agility or the suppleness to do so. You can practically hear Prometheus groaning under the weight of its ambitions; it’s a far cry from the sound Scott was going for, the music of the celestial spheres. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: Prometheus, Big Yet Inelegant, Groans Under Its Own Weight

Kristen Stewart or Chris Hemsworth… or Neither: Who’s the Fairest Box Office Draw for Snow White and the Huntsman?

You might guess most folks flocking to theaters this weekend for Snow White and the Huntsman are the legions of diehard fans of Twilight ‘s Kristen Stewart , who stars in the fantasy adventure as the sword-swinging Snow White. Maybe, even, they’ll come for co-star Chris Hemsworth — he of Thor and Avengers fame. But surprise, surprise — who’d have thought the big draw, at least for folks who hit opening day today, would be neither of SWATH ‘s up-and-coming talent? PMC Studios’ Beyond the Trailer (owned by Movieline’s parent company PMC) caught up with some early Snow White adopters at the AMC E-Walk today, and they told Grace Randolph they were there to see the Evil Queen — Charlize Theron . What’s more: At least one woman says she actually saw the film despite K-Stew. Also: Props to the older lady at 3:50 dropping truth bombs about dead ugly people, who wants to buy presents for Hemsworth’s children (even though they’d most certainly be impossibly beautiful Hems-spawn, but whatevs). Surprised at all the Charlize love? Agree with the consensus that KStew’s performance pales in comparison to Theron’s near-camp extravaganza? Or are you REALLY in it just to see Hemsworth swing that axe around a forest? For more movie news, commentary, and reviews, check out Beyond the Trailer on YouTube.

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Kristen Stewart or Chris Hemsworth… or Neither: Who’s the Fairest Box Office Draw for Snow White and the Huntsman?

Extra Sues Over Defective Men in Black 3 Costume

The latest in a string of big budget studio movie lawsuits has been lobbed at the makers of Men in Black 3 , with extra Danika Gerner claiming that she was outfitted with a costume that led to her suffering “serious bodily injuries” during filming last May. The curious part: Reports give no clues as to just how Gerner’s costume injured her, or which background character she played. More on the litigious wardrobe malfunction after the jump. Per THR : “Gerner alleges that the costume department provided her with a costume in a ‘defective and dangerous condition’ and that the defendants were ‘negligent in failing to take suitable precautions’ for her safety.” Gerner claims her injuries still prevent her from working, which really makes me wonder – what kind of costume could put you out for over a year? My money’s on an outfit from MIB3 ‘s 1969-set Warhol party, teeming with go-go dancing refugees from the Austin Powers movies. Or maybe… [ THR ]

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Extra Sues Over Defective Men in Black 3 Costume

Independence Day Getting 3-D Re-Release in 2013

In 1996, it arrived. Within a few days, it struck box office gold. And on July 3, 2013, it comes back…in 3-D! 20th Century Fox has announced plans to re-release Roland Emmerich ‘s original destructo-blockbuster Independence Day next year in an extra dimension, because America apparently can’t get enough of seeing Will Smith battle aliens . ( Bad Boys in 3-D? Now that I’d pay to see.) Plan your 2013 ’90s sci-fi flashback movie nights accordingly. [ Collider ]

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Independence Day Getting 3-D Re-Release in 2013

REVIEW: Josh Lucas Moors Himself in Grief In Clunky Hide Away

Filmmaker Chris Eyre made his name with his 1998 debut  Smoke Signals , a delicate indie adapted from a short story by Sherman Alexie about two young men living on the Coeur D’Alene Indian Reservation who go an a road trip to retrieve the belongings of one’s recently deceased estranged father. It was a small, wistful thing that offered a look at characters and a community that don’t get a lot of time on screen. Hide Away,  Eyre’s newest work — since Smoke Signals he’s made four features that have mostly headed to TV — is in the same emotional vein as that first film, but heads away from the rez for a setting that’s more figurative and characters that are more generic (by choice, though it’s also a problem). It’s a slender story of mourning that manages some lovely bits of mood while also being dreary and a little preposterous in its spareness. Josh Lucas does a heroic amount to ground Hide Away  in real feeling in the lead role, an unnamed man who is in mourning for reasons we slowly start to understand, one related to the wife and kids we see him with in gauzy flashbacks. “Are you divorced?” people ask him. “No, I’m not,” he responds numbly. He’s told by the man from whom he buys a boat at the start of a film that a lot of divorced guys apparently do what he’s doing. He doesn’t know anything about boats — what he’s looking for is an escape, a refuge — which is why he ends up with a sailboat in barely functioning condition, the Hesperus, named for the evening star. Arriving in a black suit like he either fled straight from a business meeting or a funeral, the would-be mariner pokes around the decrepit vessel on which he plans to live, and starts learning his way around. Hide Away , which was written by Peter Vanderwall, was shot and is set in a real place — on Grand Traverse Bay in Michigan — but the film strips away most identifying details, leaving the dock on which the man’s ship is moored to seem like an outpost at the end of the world. The cinematography, by Elliot Davis, makes the place look fancifully lovely, with its still, reflective water and open skies, its winter storms and cloud banks. There’s a town nearby — the man heads in sometimes to buy groceries or booze — but he doesn’t really interact with it, having chosen solitude. A few people come and go around the dock, including a guy (Jon Tenney) who actually is divorced and using his recent boat-ownership to get women, but otherwise the man’s alone. Lucas is saddled with a lot of scenes in which he’s by himself on screen, and for the most part does an admirable job of conveying someone who’s so haunted by grief that he needed to leave the world behind without actually talking about what he went through. His moments of grief — staring out, sleepless, at night; drinking himself into a stupor at Christmas while lit-up boats past by — feel rough and believable, especially in the way he courts death by acting carelessly while never actually wanting to do the deed himself. Lucas turns the man’s repair of the ship into a series of bits of physical comedy — running out of the shower after it breaks, trying to raise the sail, setting off smoke alarms when starting a fire in the stove. He makes the repetition of work into something believably soothing, makes it seem like a process through which you could genuinely start to heal. But all the interactions the man has with the few visitors he encounters and friends he makes are leadenly infused with meaning. There’s the beautiful waitress (Ayelet Zurer) at the restaurant by the dock who seems to have taken up residence there exclusively to offer comfort sex and a more maternal caring to the broken wanders who end up nearby. There’s the older man (James Cromwell) who offers words of wisdom with regard to his own sorrow — it’s “not a recipe I recommend a young man follow.” There’s the former work colleague (Taylor Nichols) who drops by to insist the man come back to his software company, offering to set him up to telecommute. And there’s the pretty check-out girl (Casey LaBow) who inexplicably comes to him for shelter after her boyfriend beats her. The entire world seems there only to patiently nurture the man back to mental health — as if he’s in some kind of extremely elaborate sanatorium in which patients are led to think that this whole recovery-by-way-of-fixing-a-sailboat thing was their idea from the start. Hide Away has more clunky moments than it does elegantly minimalist ones, the worst of which is the glimpse of what actually happened to the man’s family. It’s over-the-top and unnecessary, given that we’d already gotten the idea about why the guy feels such guilt and grief. In shaping a film so deliberately around things left out, it would have been better to give the audience the benefit of the doubt and leave a little more mystery to the nameless man and his pain. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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REVIEW: Josh Lucas Moors Himself in Grief In Clunky Hide Away