Great Moments In Fourth Wall Breakage: SUPERMAN Edition

In this latest entry in the ongoing series, Great Moments in Fourth Wall Breakage, that salutes those meta moments in movies when a character makes an aside to the audience, we’re going to look at the SUPERMAN series. That is, the one that began with SUPERMAN: THE MOVIE, continued, with diminishing returns, through II, III, and IV in the ‘80s then reviving in the 2000s with SUPERMAN RETURNS.

At the end of Richard Donner’s classic 1978 original (a personal vote for best superhero movie ever), Christopher Reeve’s Superman soars high above the earth, while John Williams’ triumphant score sweeps, after defeating Lex Luthor’s plan to nuke California, surveying the status of our big blue globe, then looks directly into the camera, and smiles. It’s a warm, ‘don’t worry, I got this,’ grin, and this footage, with slight variations from outtakes from the shoot (sometimes his right arm goes up when he flies off; sometimes not) is used to end the film’s three sequels.

Bryan Singer’s attempt to reboot the series in 2006 with SUPERMAN RETURNS also did its take on the ending flyby, but in this version, Brandon Routh (pretty much a Reeve clone) looks knowingly, with a slight, sly smile, at the camera but doesn’t show any teeth before he flies off.

This was the last time for the concluding fourth wall breakage in series, as Henry Cavill’s Superman in MAN OF STEEL, BATMAN V. SUPERMAN, and JUSTICE LEAGUE (all of which are awful) hasn’t been shown friendly acknowledging the audience, and it’s one of the many reasons this most recent version of the character has been embraced like Reeve’s was (and still is). I’m not saying that not having the final smiling flyby is like a James Bond movie without the gun barrel intro, but it’s close.

So Superman is such a mighty being that he even knows he’s a movie star, and his end of adventure smile for us always put an appealing cap on the caper. I wonder if we’ll see a Superman movie with that moment in it again.

Now here's a YouTube compilation of all of the flyby endings from SUPERMAN to SUPERMAN RETURNS:

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MISSION: IMPOSSIBLE – FALLOUT Is The Best Yet In The Long Running Series

Opening tonight at a multiplex near us all:

MISSION: IMPOSSIBLE - FALLOUT

(Dir. Christopher McQuarrie, 2018)

These movies are getting better and better. It’s true, the sixth installment of the 22-year old series based on an over 50-year old TV show is the best one yet.

It starts with a stellar pre-opening credits sequence largely set in Berlin in which Ethan Hunt (a 56-year old Tom Cruise, looking like he’s 40), and his returning IMF (Impossible Missions Force) crew made of Benji (Simon Pegg) and Luther (Ving Rhames) attempt to retrieve three plutonium cores from a terrorist group called the Apostles (an offshoot of the Syndicate from the previous M:I film, ROGUE NATION).

They fail to get the plutonium, but were able to capture weapons expert Soloman Lane (Sean Harris, reprising his role from RN), and, joined by Henry Cavill as a CIA operative, travel to Paris to again try to capture the plutonium from the Apostles.

Of course, right away, we (or I) suspect Cavill’s character to be John Lark, the leader of the Apostles as his identity is unknown, but he tells CIA Director Erica Sloane (Angela Bassett) that he thinks Hunt has turned and he is Lark. Now, this is quite a leap for us to buy that the protagonist of a six entry series has now become the bad guy, but it’s a plot point that works and leads to something the franchise does best – a satisfying fake-out.

IMF Director Alan Hunley (the also returning from RN) Alec Baldwin, gets out of the office and into the field with the team for the Paris mission which involves Hunt in a killer motorcycle and car chase around the Arc de Triomphe.

The action moves to London where a rooftop foot chase (always got to have one of those), in which Hunt is shown a picture of his wife (Michelle Monaghan) and told that her life is threatened.

Then we move on to Kashmir (globetrotting!) where Hunt and his team, along with the also returning Rebecca Ferguson as former MI6 agent Isla Faust, try to de-activate the bombs before they kill billions of people. This involves an incredible helicopter chase in which Hunt fights to get the detonator from the bad guys.

Sure, there are contrivances – the goons always being bad shots in the shoot-outs, and a 15-minute countdown taking a lot longer than 15 minutes among them – but the stakes feel real, and the rush of the spectacle after spectacle is constantly exhilarating.

For sure the best sequel of our current sequel cluttered climate, MISSION IMPOSSIBLE: FALLOUT is a cleverly constructed action thriller with a great gritty look, a sharp screenplay, lots of well placed humor, and a bunch of mesmerizing moments that make it more engaging and entertaining than any other action thriller in recent memory. 

Writer/Director McQuarrie, the only director who has made two M:I movies, is getting to be a old hand at making movies with Cruise (he previously directed the actor in JACK REACHER and MI:RN, and wrote the screenplays for VALKRIE, EDGE OF TOMORROW, and THE MUMMY), and this time he really pulls out the stops. 

Cruise, again doing many of his own stunts, once more excels as Hunt, who while mostly confident shows believable fear and worry when in the middle of all the effectively dangerous feeling activity. You could say he puts in a performance that's fearlessly fearful.

I’m not sure when Cruise will be considered too old to be doing these movies (he’s almost the age Roger Moore was in his last 007 adventure, A VIEW TO A KILL *), but it doesn’t seem like it’ll be anytime soon.

*Moore was 57, and later said that he was four hundred years too old for the part.

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JUSTICE LEAGUE Continues DC’s Struggle To Catch Up With Marvel

Now bombing at a multiplex near everyone:

JUSTICE LEAGUE (Dir. Zach Snyder, 2017)

The good news is that DC’s latest entry in their ongoing attempt to catch up with Marvel is a lot better than the fiasco that was BATMAN V. SUPERMAN: DAWN OF JUSTICE (it has a snappier title too), but the bad news is that it’s still far from a great, or even good movie.

Zach Snyder, with help from Joss Whedon, who handled lengthy re-shoots, teams up Ben Affleck’s Batman, Gal Gadot’s Wonder Woman, Ezra Miller’s Flash, Jason Momoa’s Aquaman, Ray Fisher’s Cyborg, and Henry Cavill’s Superman (it can’t be a spoiler since everyone knew that the character was going to resurrected after his death in BVS, right?) to save the world from the clutches of the supervillain Steppenwolf (an all CGI-ed up Ciarán Hinds), but the result is a colossally anti-climatic mess.

However, perhaps due to Whedon’s involvement, there are flashes of wit – largely from The Flash, who comes off as the Spider-Man of this gang as he’s a wise-cracking kid who has the film’s best lines (I loved his quip, “Pet Semetary!” when Superman returns from the dead and is initially evil).

JUSTICE LEAGUE falls short in many departments, but one that stood out was that it has no third act. The first act is all set-up as it follows Affleck’s Bruce Wayne as he assembles the group, having walk and talks with Gadot’s Diana Prince and Momoa’s Arthur Curry (Wonder Woman and Aquaman’s alter egos), and roping in Miller’s Barry Allen, and Fisher’s Victor Stone (The Flash and Cyborg’s alter egos) into the fold.

The second act is the big battle between the Superfriends and Steppenwolf and his army of flying creatures called Parademons. This bloated sequence goes on and on with precious little excitement before it concludes with a wrap-up that reaks of lazy afterthought.

Trailers and TV spots were smart to play up the Wonder Woman angle as that’s the only character these DC movies has had any critical success with, and Gadot does have her moments here, but she’s overshadowed by Affleck and Cavill’s charmless and unconvincing takes on their iconic roles. Affleck gets a lot of flack for his acting, but I maintain that he’s not really a horrible actor; just an uninteresting one.

And after the lame likes of MAN OF STEEL, BVS, and now this, I’m still not buying Cavill as Clark Kent/Superman. The British actor still feels miscast to me as the most famous superhero, as he never comes close to matching the power of Christopher Reeve, or even George Reeves’ corny version of the caped crusader from the old ‘50s Superman TV series (incidentally Affleck played Reeves in Allen Coulter’s 2006 drama HOLLYWOODLAND).

Of the other League members, Momoa and Fisher, as Aquaman and Cyborg (the character I know the least) didn’t make much of an impression on me, but, as I mentioned before, Miller’s Flash steals the show. Then there are the supporting turns by Amy Adams, J.K. Simmons, Diane Lane, and Jeremy Irons as Batman's tech saavy butler Alfred, which are serviceable but don't really add anything to the whole shebang.

With its 300 million dollar budget, one would expect better special effects, but the movie is marred by a lot of crummy CGI, which really dims the impact of much of the action. There have been reports that the movie is underperforming, and may not recoup its production costs, which I hope will make DC reconsider letting Snyder direct its follow-up (or any other project for the brand for that matter).

Despite some signs of improvement, Snyder appears to be unable to make a decent superhero movie (or any other movie for that matter), even with the copious assistance from Whedon here. Marvel’s business model of inter-connecting story-lines, Easter eggs, and strategically placed cameos is obviously a lot harder to copy than they thought.

WONDER WOMAN showed that it is possible to make an effective stand-alone movie, so there may be salvation for the franchise yet, but it’s a safe bet that Marvel will have racked up a bunch more crowd-pleasers by the time DC really gets their shit together, that is, if they ever do.

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BATMAN V SUPERMAN: DAWN OF JUSTICE: Yeah, No.

Now playing at a multiplex near you:

BATMAN V SUPERMAN: DAWN OF JUSTICE

(Dir. Zach Snyder, 2016)

DC pitting their two biggest, most iconic superheroes – Batman and Superman - against each other in order to jumpstart their cinematic universe looked like a questionable premise right off the bat – pun intended.

Especially since I, and many others, hated the first installment of the DCEU (DC Extended Universe), Zach Snyder’s SUPERMAN series reboot MAN OF STEEL.

So I went in to Snyder’s follow-up/BATMAN reboot with exceedingly low expectations, but was still majorly disappointed.

For BATMAN V SUPERMAN is another round of boring bombast surrounding a couple of dark dullards without a lick of compelling storytelling to be found. There’s also a severe lack of humor, and anything resembling a fresh style.

Henry Cavill, returning as the red caped crusader as well as giving us our first real taste of his Clark Kent persona (we only got a glimpse of him getting the job at The Daily Planet in MAN OF STEEL at the end), and Ben Affleck, making his debut as the Dark Knight/Bruce Wayne, both brood up a storm but there’s nothing really that intriguing about their characters. They’re just overly self serious, bland dudes is all.

The film tries to simultaneously function as a sequel and a origin story for Affleck’s incarnation of Batman, but it strongly appears that his/Snyder’s version of the character is a continuation of the Christopher Nolan/Christian Bale model as there are references to The Joker, an identical bat cave, and restagings of his parents’ murder and his being attacked by bats in a well as a child that attempt but fail to recreate the gravitas of Nolan’s work.

We learn that while Superman was battling General Zod and reaping mass destruction on Metropolis in MAN OF STEEL, Wayne was one of the many folks in the rubble building up a hated for Superman. Just like many in the audience.

Clark Kent, for his part, dislikes Batman, labeling him a “bat vigilante” and “a one man reign of terror” so the stage is set for what Lex Luther (Jesse Eisenberg) bills as “the greatest gladiator match in the history of the world.”

Eisenberg’s Luther is an unhinged, mad scientist who, of course, wants the two leads to fight and destroy each other so that he can…uh, I forget exactly what his plans were for after that but we’ll just go with world domination. Eisenberg locks in to the villain role with a lot of crazy conviction, but I never bought him as Luther. He reminded me of the Jon Cryer role in SUPERMAN IV – Luther’s (then played by the great Gene Hackman – now, there’s a Lex Luther!) newphew/flunky. He seems like the guy who’d be fetching stuff for Luther, not actually be Luther.

Whatever the case, this movie plays out exactly how you’d expect with no surprises. Batman and Superman fight, then bond together to fight a ginormous, grotesque creature that Luther created from Zod’s DNA, with the help of Wonder Woman (Gal Gadot), whose addition here feels like an afterthought.

David S. Goyer (MAN OF STEEL) and Chris Terrio’s (Oscar winner for the screenplay for Affleck’s ARGO) screenplay is full of pretentious dialogue about good, evil, “god versus man,” etc. but none of it comes together to form any meaningful theme. There are also a few incredibly weak plotpoints that would be a Spoiler to complain about, but I'll just say that in the worst one they make a connection between the feuding leads based on a coincidental name in their families. Man, that made me cringe.

So did the dream sequences - one a dream inside a dream deal - which were ultra unnecessary. 
Amy Adams, reprising Lois Lane, puts some genuine passion into her part, and her fellow returning cast members (Lawrence Fishburne as Editor Perry White, and Diane Lane and Kevin Costner (a dream-set cameo) as Superman’s earth parents) are all fine, but in the messy machinery of this movie they are little more than cardboard cogs.

Meanwhile, Jeremy Irons takes over from Michael Caine as Batman’s butler Alfred and has a few of the film’s only mildly amusing lines, and there’s a welcome turn by Holly Hunter as a senator who wants to hold Superman accountable for his actions in the previous film’s climax, but sadly a hearing scene in which Superman stands before congress is cut short before he gets to testify. Silly me for thinking that Superman could offer any plausible justification for the sins of MAN OF STEEL. Also Hunter’s role here may remind some folks that she was in a movie that dealt much better with the accountability of superheroes: THE INCREDIBLES.

Folks complained plenty when Affleck was cast, but he does an admirable job with the underwritten role. He mostly just has to grimace behind a mask while the special effects people rig things to explode around him and he can certainly pull that off. Affleck’s Bruce Wayne persona is basically just a collection of suave poses with flashes of his bedroom eyes and he hits the mark with that too. If only there was something more to flesh out there. I mean, Will Arnett’s Batman in THE LEGO MOVIE was more complex than this guy!

BATMAN V SUPERMAN: DAWN OF JUSTICE (stiff, clunky title) is the first big, bad movie of the year – an awful, mess of a wannabe epic that casts a dark shadow on the future of both superhero franchises as well as the entire DCEU. The two JUSTICE LEAGUE movies that are set for 2017 and 2019, the next we’ll see these characters, really have to be something special to redeem the whole enterprise, but Snyder is set to direct those too so I’m not counting on that to happen.

Oh, and don’t worry about staying to the end of the credits because there is no stinger – that’s something they surprisingly haven’t stolen from Marvel. 

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Guy Ritchie’s THE MAN FROM U.N.C.L.E.: A Stiff Yet Glib Exercise

Opening today at a multiplex near you:

THE MAN FROM U.N.C.L.E. (Dir. Guy Ritchie, 2015)

Guy Ritchie’s update of the ‘60s spy television series The Man From U.N.C.L.E. may be his best looking, and most stylish film, but sadly it may be his least interesting.

Now, I may be experiencing a form of formula fatigue after a summer of being bombarded by a bunch of big ass blockbuster wannabes, but this cold war action thriller struck me as so rote, and by-the-numbers that I almost nodded off a few times.

The duo of Henry Cavill (MAN OF STEEL) and Armie Hammer (LONE RANGER), as art thief/CIA Napoleon Solo and KGB agent Illya Kuryaki, the iconic roles previously played by Robert Vaughn and David McCallum, goes through the predictable motions: you know, at first they hate each other, then they build a grudging respect, etc.

The plot, which has them reluctantly paired together to stop an evil organization from building a nuclear bomb that could cause the “end of the world, that kind of thing” as one of the not so sharp lines in the screenplay by Ritchie and frequent collaborator Lionel Wigram puts it, is uninspired, tired stuff. It says a lot that Paul Feig’s Melissa McCarthy vehicle SPY from earlier this summer had a more involving narrative.

Alicia Vikander, an actress who is having a breakthrough year via major roles in EX MACHINA, TESTAMENT OF YOUTH, and this, plays Gaby Teller, the daughter of a German scientist who was kidnapped by the bad guys. Gaby joins Napoleon and Illya on their mission, travelling with them to Rome where we find out who the film’s villain is: the glamorous blonde bombshell arms dealer Victoria Vinciguerra (Elizabeth Debicki).

Some of the set-pieces pop – particularly a high speed chase involving a dune buggy, a jeep, and a motorcycle that slickly incorporates split screens – but most are workmanlike and without much momentum. It’s a shame that this project, that was in development hell since the early ‘90s, turned out to be such an unremarkable piece of product. And it’s one that’s stiff yet glib at the same time.

It’s also a bit amusing, more amusing than the actual material here, that almost everybody is playing another nationality. Cavill is British playing an American. Hammer is American playing a Russian. Vikander is British playing a German. Debicki is Australian playing an Italian. The British Jarred Harris, who plays Cavill’s CIA boss, affects an American accent that sounds like he’s imitating Ed Asner. When Hugh Grant popped up as the head of U.N.C.L.E. (which, by the way, stands for United Network Command for Law and Enforcement), I was just happy that he was speaking with his real voice.

Ritchie’s reboot, re-imaging, re-whatever THE MAN FROM U.N.C.L.E. isn’t without its charms – they are just in small supply. Cavill’s Solo exudes charisma, and gives us a little taste of what his Clark Kent could be like, but he’s crudely offset by the humorlessness of Hammer’s take on Illya. Vikander adds a nice splash of color to the proceedings, but mainly because of her mod dresses. Still, a bit where she dances drunk in a hotel room behind Hammer’s back is adorable.

So that’s another entry in this year’s summer cinema sweepstakes – a fairly forgettable re-branding of an old TV show. Fall can’t come soon enough.

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SUPERMAN: The New Nolan-ized Reboot

Now playing at mulitplexes from here to the Phantom Zone:

MAN OF STEEL (Dir. Zack Snyder, 2013)

The time is as good as any for a new take on the most powerful comic book superhero ever, but Zack Snyder’s (300, WATCHMEN, SUCKER PUNCH) reconstruction of the Superman movie mythos is a big bombastic bore.

A great cast has been assembled, including Henry Cavill as the caped crusader, Russell Crowe as Superman’s Kryptonian father, Kevin Costner as his Earth dad, Amy Adams as Daily Planet reporter/love-interest Lois Lane, Lawrence Fishburne as her editor/boss Perry White, Richarh Schiff (The West Wing) as some sort of all-knowing scientist, and, best of all, Michael Shannon as the evil bent-on-revenge General Zod, but Snyder working from a screenplay by DARK KNIGHT co-writer David S. Goyer, overcrowds the storyline with spectacle, repetitive dialogue, and needless convolutions making it difficult to connect with anything on screen.

You know the drill – before Krypton explodes, Papa Crowe (probably the actor who brings the most gravitas to the film) puts his new born baby (touted this time as the planet’s first natural birth in centuries) in a spaceship to Earth, where he’s found by a kindly middle-aged couple (Costner and Diane Lane) living on a farm in Kansas, who name him Clark Kent.

As the boy grows up he recognizes that he has great powers, learns of his origin, and heeding the advice of his step-dad Costner to conceal what he can do, he goes on the road anonymously going from town to town working different jobs until his powers get in the way and he has to move on just like David Banner (Bill Bixby) did on the old Incredible Hulk show.

Huh? Wait a second, that’s not really part of the classic Superman story is it? Sure doesn’t feel like it should be here, but whatever. In this version, Lois Lane figures out that Clark Kent has powers before he even puts on the suit; she never knows Clark and Superman as 2 different people. I’m fine with that – it would be too much to ask for an ace investigative reporter (one that’s won the Pulitzer Prize, mind you) to be fooled by a pair of glasses, so they don’t introduce the element of our hero working at the newspaper until the end. Makes me miss the comically over-sized glasses that Christopher Reeve wore as Clark back in the original ‘70s-‘80s SUPERMAN movies, but, oh well.

Also unlike that run of movies, that got progressively worse (the first two were great, the third and fourth ones, not so much), there’s no Fortress of Solitude made out of new age crystals, no Lex Luthor, and barely any humor.

Shannon is perfectly cast as General Zod (stepping into the mighty shoes worn by Terrence Stamp in SUPERMAN: THE MOVIE and SUPERMAN II), but it’s an exposition-heavy role, with the actor looking like he’s in a permanent bad mood (resembling grumpy cat at times), but it’s still one of the more successful elements on display in MAN OF STEEL, because of how invested Shannon is in it.

Zod and his minions attack Metropolis, with tons of buildings getting destroyed (we don’t seeing many people dying but from what we see it’s impossible that there wasn’t a large death toll) and start taking over Earth so that they can make it New Krypton or something. The cityscape alien attack sequence was much better done in THE AVENGERS (not to mention SUPERMAN II), and the climatic one-on-one battle between Superman and Zod just has them pummeling each other from one set-piece to another with no excitement (they punch each other through buildings over and over).

Meanwhile Fishburne and a few other Daily Planet folks are running through the rubble, for some reason they’re some of the only survivors of the attack, but the film never took anytime to establish them as characters to care about.

The British-born Cavill makes for a fine Superman aesthetically, and he’s got the American accent down, but his is also a blank slate of a character that I had trouble forming any connection to. The charisma that Reeve had in the iconic role, and that Bryan Singer tried to capture with Reeve clone Brandon Routh in 2006’s SUPERMAN RETURNS is sorely missing, but that fault lies more with the writers/filmmakers than with the man in the cape.

One thread that really didn’t work for me had to do with the scrambled narrative that jumps around, and way too often to flashbacks of Earth dad Costner saying that the world isn’t ready for a man of incredible powers yet. They draw this out too long, when you know that the world is as ready as it’s ever going to be, and Costner’s death in a tornado, which his son could’ve saved him from, doesn’t make any sense.

In SUPERMAN: THE MOVIE, Glenn Ford as our hero’s adoptive father died much more poignantly from a heart attack – something Superman could never have saved him from (well, unless he spun the world back in time), and it had a richer meaning to his maturation; here the man’s death doesn’t teach any lesson except that he’s wrong and his son should’ve revealed himself much earlier. I really don’t get what they’re waiting for. The movie doesn’t give any discernible reason except to stretch out Superman’s angsty development and Costner’s part.

The dark gritty approach to the material, which undoubtedly came from Executive Producer Christopher Nolan, who shares a “story by” credit with Goyer, isn’t right for this area of the D.C. Comics universe. I’m not saying Superman should be nothing but sunny warmth, but there’s no triumphant thrill to seeing our hero save the day here – he doesn’t even show concern for the many who undoubtedly died in the huge devastation on Metropolis.

MAN OF STEEL is a by-the-numbers summer blockbuster wannabe that forgot to have any fun with its source material. Ultimately, it's a ginormously fussy film pulled in so many directions that it's un-engaging and dull. 

Technically, with its well chosen cast and vast array of nonstop visual effects, Snyder and crew have made a serviceable popcorn picture, but next time out (and with all the money that it has already made, there certainly will be a next time) I’m hoping they’ll remember to add more heart, humor, and actual heroism to this not quite re-booted franchise.

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Upcoming Blockbuster Wannabes (With Trailers!)

I went to see THE GREAT GATSBY 3D, which wasn’t that great, last weekend and like usual when I go to the multiplex I get exhausted before the main attraction even starts because of the bombastic noisy trailers for upcoming blockbuster wannabes. 

At least the theater, the Raleigh Grande, didn’t pile too many on like some others do. The bombast started with SUPERMAN RESTARTS, sorry, MAN OF STEEL, the new Superman reboot starring Henry Cavill and directed by Zack Snyder (300, WATCHMEN, SUCKER PUNCH) coming out on June 14th.

The epic trailer looked incredibly promising, albeit Christopher Nolan-ized (Nolan executive-produced), and I like the idea of Russell Crowe as Superman’s biological father Jor El from Krypton, Kevin Costner as his Earth father, and especially Michael Shannon as General Zod. Here’s hoping that it at least strikes a more successful chord than Bryan Singer’s SUPERMAN RETURNS. Check out the trailer:

The following trailer, for THOR: INTO DARKNESS, sorry, THOR: THE DARK WORLD, due out November 8th, really suffered by comparison to the MAN OF STEEL one. 

Alan Taylor takes over on directing duties from Kenneth Branagh for the sequel to the 2011 Marvel Universe entry, in which Chris Hemsworth reprises his role as the Asgardian warrior for the third time (the second was in last year’s smash THE AVENGERS). Natalie Portman also returns in this CGI-saturated super hero flick that has Thor battling…uh, I’m not sure. Actually I couldn’t get a sense of the plot, except that Portman goes to Thor’s dimension or whatever you call it, from the roughly 2 minute trailer, which you can see below, but looks like there’s lots of action and stylized violence just like you’d expect. 

Lastly, one of the most anticipated movies of the summer, Marc Forster’s WORLD WAR Z, based on the book by Mel Brooks’ son Max Brooks, was advertised in a trailer also filled with quick cuts of thunderous action. Brad Pitt stars in the film (the trailer doesn’t make his occupation clear, but it's some kind of government job) that consists of swarming zombies (they move much much quicker than in The Walking Dead) overtaking the earth. The film has a budget of over $200 million and from the looks of this preview, it looks like it’s all up on the screen. Check it out the trailer for WORLD WAR Z, opening the week after MAN OF STEEL on June 21st in IMAX 3D and plain ole 2D:

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