This week, Fat Guy Kevin Carr dresses up in his Jedi robes and grabs his lightsaber, heading to the theater to see the 3D re-release of Star Wars: Episode I – The Phantom Menace. While there, he faces a sea of estrogen as ladies of all type swarm into the multiplex to see Channing Tatum’s abs multiflex. After using his lightsaber to break through the wall of pre-Valentine’s Day ladies, he faces more obstacles with twentysomething dudes heading out to see Safe House and obnoxious families to see Journey 2: The Mysterious Island. Fortunately for Kevin, he is able to dispatch everyone with his Rock-inspired “pec pop of love.” It was an early Valentine’s Day massacre.

Sometimes, choosing the right movie for the weekly DVD drinking game is a tough decision. Other times, it comes as naturally as breathing. This week, we breathe in the Christmas goodness of the latest Harold & Kumar movie and enjoy its raunchy silliness. Yeah, we know Christmas was a couple months ago, but who says you need to have tinsel on your tree to watch this movie? These guys may not be known for following the rules, but here’s a slate of rules you’ll enjoy following while you watch the film. Just don’t try anything too strong, or you might end up like Thomas Lennon’s on-screen child. And no one wants that, do they?

Do you like insane spaghetti Westerns? Of course you do, your eyeballs work. But I can personally guarantee that you have not seen anything until you seen an insane spaghetti Western…in 3D! During last year’s Fantastic Fest, our ocular cavities were lovingly assaulted by the tidal wave of extra-dimensional madness of 1981′s Comin’ at Ya! The film, which was made at the dawn of, and credited with contributing to, the resurgence of studio-released 3D films, is a nasty, gritty revenge story that works in a number of hilarious gimmicks designed to force-feed imagines from the screen into your consciousness. The film made such an impression that it was picked up for distribution by the young, but formidable, Drafthouse Films. Yes, as in The Alamo Drafthouse. Drafthouse Films has already helped spread the good news of Christopher Morris’ Four Lions and their recent acquisition Bullhead is nominated for an Oscar in the Best Foreign Language Film category. Now they’ve given this little indie absurdity a fancy digital restoration for its Texas theatrical launch.

This week, Fat Guy Kevin Carr recovers from his colossal failure in getting any of his votes in the Critic’s Choice Movie Awards to count (except for A Separation for best foreign film, but who didn’t think that would win?) by engaging in therapy via multiplex. Unfortunately, it’s January, and his only choices were Marky Mark and the Smuggling Bunch or Queen Latifah going mano-y-mano with the robot Dolly Parton. He opts for the action film, but he may have also fallen asleep during it. How soon until good movies are released again?

We all know the story. In a panic to find a spectacle that could provide a bit of magic and a higher ticket price for the cinema, the studios turned again to 3D. Thanks to technological advances and a long vacation from the third dimension, it all seemed fresh and new again (even if the bulk of it was put together with rushed post-conversion). Whether you believe it’s just a fad that’s on the way out or believe it to be grand revolution of the art, time is the only one who has the final word on it, but for now the truth (like in all things) probably lies somewhere between those two extremes. And it’s a lack of extremes that make Steven Spielberg and Martin Scorsese the wisest public speakers on the subject. Here’s Spielberg at Comic-Con last year: “I’m certainly hoping that 3D gets to the point where people do not notice it, because once they stop noticing it it just becomes another tool and an aid to help tell a story. Then maybe they can make the ticket prices comparable to a 2D movie and not charge such exorbitant prices just to gain entry into a 3D one, with the exception of IMAX, where we are getting a premium experience in a premium environment, but to show a 3D movie in a similar theater in a multiplex next to another similar theater showing a 2D movie. I’m hoping someday there will be so many 3D movies that [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

A director that jumps between the world of fiction and the world of documentaries is a rare one, but Wim Wenders is no ordinary director. According to Christopher Campbell’s excellent interview over at Documentary Channel, the veteran chameleon auteur (figure that oxymoron out) will pivot from the breathtaking dancing doc tribute to choreographer Pina Bausch to the bricks and mortar of architecture. Like Pina, which is in theaters now, the new production will be in 3D. Wenders had this to say, “I have always wanted to do a film about architecture, and I have a lot of architect friends. But that is another subject I never really knew how to approach with film. I realized through Pina that architecture is something that could have a real affinity to this medium. We started shooting already, but it’s at the very, very beginning. That’s going to be my next documentary project in 3D, but I would definitely also do a narrative film in the future in 3D as well.” The good news? This is going to be amazing. The bad news? It’ll probably be a few years before it’s ready. Then again, good things come to those who wait.

The self-reflexive practices of the meta-film take various forms. On the one hand, there’s the legacy of cinephilic directors from Brian De Palma to P. T. Anderson to Robert Rodriguez who shout out to specific films through their in-crowd referencing, or even go so far as to structure entire narratives through tributes to cinema’s past. Then there’s “the wink,” those film’s, like this weekend’s The Muppets, who exercise cheeky humor by breaking the fourth wall and by constant reference to the fact that they are in a heavily constructed film reality. The third category is less common, but perhaps the most interesting. There has been a recent influx of films that don’t use past films to construct present narratives or engage in Brecht-light humor, but have as their central narrative concern the broad developmental history of the medium itself, from practices of filmgoing to particularities of projection, and anything in between. Bertolucci’s The Dreamers is a good example of this mode of meta-filmmaking, but more high-profile films have begin to make this turn, specifically by directors who formerly operated in the first (and perhaps most common) category, like Tarantino with Inglourious Basterds two years ago. Now Martin Scorsese has followed suit with the 3D love letter to early cinema and film preservation that is Hugo.

Just because it was raked over the critical coals this past summer doesn’t mean that Green Lantern can’t be fun. And even though St. Patrick’s Day is five months away, this would be a perfect time to get your hands on some green beer and watch the film again on DVD or Blu-ray (or if you’re really ambitious, on 3D Blu-ray). Remember that a Green Lantern’s might comes from the power of will. Here is your chance to test the strength of your will and intestinal fortitude. Who knows? By the end of the movie, you might just believe that you can create things with your mind.

While 3D is all the rage now, and thankfully its death knell may be sounding, it can be easy to forget that 3D is not a new Hollywood trick to get butts into seats. There have been 3 distinct periods of prevalent 3D films in cinemas, one in the 50s, one in the 80s, and the one in which we currently find ourselves. And one of the films that helped kick of the 3D revival in the 80s was a spaghetti western called, rather appropriately, Comin’ At Ya 3D. It should be stated upfront that Comin’ At Ya 3D is first and foremost about the 3D gimmick. I won’t go so far as to say it’s not a film, but it’s definitely a case of style over substance and the story always takes a back seat to the in your face 3D effects. That’s not to say that the 3D doesn’t at times enhance the story being told, but it’s clear that the 3D is the big selling point here. No one was expecting Oscars for acting on this one. That said, Comin’ At Ya 3D is a lot of fun. If there’s something that could conceivably be thrown at the screen given the confines of a period Western, you can pretty much bet that it’s going to be thrown at the screen. It definitely takes a kitchen sink approach.

This week, Fat Guy Kevin Carr feels the weight of the fall movie season. It’s September, and while the kids are heading back to school, he’s playing hooky with Sarah Jessica Parker chick flicks and yet another not-quite-70s-video-nasty remake. Kevin is consoled by the release of Drive, however, because Albert Brooks as a crime boss makes him chuckle. And his love for 3D and Disney meet head-on in a collision of awesomeness.

Of course you wouldn’t. That means that either Marchon3D has the dumbest idea in the history of capitalism or their product just isn’t meant for those of us with empty wallets and full brains. The company is going to begin stalking stocking movie theaters (starting in San Diego and Huntington Beach) with vending machines that dispense designer 3D glasses ranging in price from $22 to $70. According to Digital Trends, Marchon3D glasses will all work with RealD as well as passive screens that you might find in and around your household. You can even check out the company’s website to read all the vague reasons that make their glasses superior. “Minimal distracting lens reflections”?!?! Sign me up! Keep the change! As much as this concept panders to people with too much money on their hands (and a desperate need to look great in a completely darkened room), the company might be on to something with their model that clips on to regular eyeglasses. If there’s one complaint that resonates it’s that 3D glasses are a pain in the iris for anyone who already needs glasses to see the movie, and if the Marchon3D model works, it might be a nice accessory for some film fans to pick up. Otherwise, this whole thing, the idea of spending $70 on something the theater gives you for free, is so patently moronic that I wished I’d thought of it first.

Harold & Kumar Go to White Castle was a small and unassuming comedy that happened to be pretty damn funny. John Cho and Kal Penn have some fantastic chemistry together, and that combined with some fairly sharp writing and a brilliantly conceived cameo by Neil Patrick Harris made it a winner. The sequel from 2008 saw the boys go to Guantanamo Bay, and while it was bigger in scope it was a bit smaller in laughs. Harris was still hilarious, and the movie did feature a bottom-less party scene which I had hoped would catch on both in other films and in my life (sadly it was not to be), but it seemed the magic of that first pairing was lost. But now, seven years after we first met this rascally duo they’re off on a new adventure. And it all starts when Harold murders Santa Claus… Check out the trailer below courtesy of Yahoo Movies.

Most cynical internet denizens will tell you that the resurgence of 3D is a mere gimmick, meant to drag more people to theaters and jack up ticket prices. (I am one of those cynical people.) Average movie-goers seem to be agreeing, with a resounding “I paid five bucks extra for this crap? I could have had nachos!” 3D has come and gone throughout film history, and each time we come to the same general conclusion: We kinda don’t like it. Until we have some kind of full immersion films (and would they even be films at that point?) we’ll probably never be satisfied. When 3D movies fell apart the first time, Hollywood just went back to doing what they had been doing before the 3D boom: Trying to make good movies. One man was not satisfied, though. William Castle, director and producer of ridiculous B-movies, had a vision. He wanted to make every single one of his films into a spectacle event (much to the annoyance of theaters that booked his movies) that drew the masses to the cinema for the experience. Here are six of his most notorious gimmicks.

While waiting for Steven Spielberg and Peter Jackson for The Adevtnures of Tintin press conference, I kept imagining how the duo would magically enter the room. First of all, their podium was slightly bigger than most there. Not too much bigger, but most certainly bigger. But what if it was gigantic? What if they wanted to stare down on all of us attending like Gods? As for their entrance, digital materializing infront of us would’ve been cool. Or if the duo showed up in a pair of mo-cap suits. Or if they were carried in on a Tintin themed throne. Surprisingly and sadly, neither of them entered the room that way. Once Spielberg and Jackson got to the press event, they delivered their thoughts on 3D, the determination of Tintin, and what they learned about each other during their first Tintin adventure:

Listen, 3D is a contentious issue. Lots of people hate 3D and let it be known almost daily. I guess I get it. I mean, sometimes 3D is done poorly. Sometimes it’s annoying. It’s kind of a gimmick. Then again, there has been some good 3D, too. Transformers: Dark of the Moon looked amazing, Thor and Captain America were both well done, and plenty of movies from My Bloody Valentine 3D to the Final Destination films (recent ones) have been fun in 3D. We’re also moving into a new age of 3D, one where some of the most respected directors in the world are making 3D films. Peter Jackson, Steven Spielberg, James Cameron, Francis Ford Coppola, Ridley Scott, all the major players are going to play with 3D and many of them love it – like Ridley Scott who said, perhaps exaggeratedly, that he’d never make a film without 3D again. So, for now, 3D is here to stay and while it can be imperfect, often it’s fun. There is one instance, however, when the 3D kind of sucks no matter what.

Between 1991 and 2004 Jeff Smith released 55 issues of his comic book “Bone” and built a legacy as one of the most beloved comic creators of all time. People love “Bone”. I mean, they’re crazy about it. It’s a shame then that it has never managed to get a film adaptation, despite living in the mires of developmental hell for quite a while now. The good news is there seems to be some new traction for the project, and the new stuff that’s popping up is even impressive enough to have Smith pleased with what he has seen. After both Paramount and Nickelodeon swung and missed with the “Bone” property, the rights got moved over to Warner Bros. where several scripts have been tried out but the third seems to be the charm. WB wants to turn their latest take onto the character into a three part, computer animated, 3D film series, and they’ve even put together a four minute short to show off what it would look like. Series creator Smith told the L.A. Times’ Hero Complex that he is, “actually excited about the movie for the first time in a long time.” That’s probably high praise coming from a guy who has reportedly waded through a ton of crappy film treatments of his baby.

What is Movie News After Dark? It’s a nightly movie news column that brings together all the most interesting stories and articles from around the web. It’s also fully immersed in Comic-Con week. Thus, another night of leading with an image of cosplay brilliance and advice from Comic-Con veterans. In our continued effort to get you ready to attack Comic-Con this week right alongside our own hit squad, here is another guide full of useful tips. Movies.com has put together a list of 10 Things Everyone Should Do at Least Once During Comic-Con, including one of my personal favorite things, “buy something new in Artist Alley.” Just remember that Twilight isn’t the only thing happening at SDCC, support those artists.

It’s fascinating that the director of Taxi Driver is the man who put this together. Martin Scorsese once again shows his versatility by tackling Hugo, an adaptation of the popular children’s novel “The Invention of Hugo Cabret.” Interestingly, it look like he’s channeling Chris Columbus here with a healthy dose of Lemony Snicket. Yes, it looks fun and silly, but this trailer makes it look a bit too childish (and features far, far too much of Sacha Baron Cohen falling down and smashing into things Kevin James-style).

We’ve been planning hard for nine months, eating entire sheet cakes by ourselves, and now the fruits of our labor will burst forth onto the internet in just a few weeks. It’s Comic-Con season, and we plan to give birth to some incredible content and coverage. Then, we’ll wipe off the afterbirth and hand it to you with a bow on top. We’ll be tackling interviews aplenty, getting the inside information on movies we won’t see for another 3 years, and covering Hall H like pickle sauce on ice cream, but it’s a big job, and we won’t be doing it alone. Fortunately, Jordan Hoffman (champion Reject Radio Movie News Pop Quizzer and Editor over at UGO) has organized a handful of the best movie sites to share coverage. Here’s what we’re all excited for the most and what you can plan on seeing…

What is Movie News After Dark? It is not a sentient being sent to Earth to bring you nightly doses of absolute and unquestionable brilliance. It is not the wittiest chap at the tea party. It is not an ad-free experience. It is, however, a nightly gathering of entertainment news and views that works very hard to win your affection. Except for last night, when its usually diligent author felt pain so bold that it had him contemplating watching Glitter again… Breaking tonight is the news that Seth Gordon, director of such films as The King of Kong: A Fistful of Quarters and Four Christmases, is now attached to direct a remake of the 1983 film WarGames. This news will undoubtedly be met with mixed reactions, as their is a delicate balance between people’s hatred for remakes and their enjoyment of the works of Seth Gordon. Which will win out? More at 11…