When I first saw it in 1999, Maxivision48 produced a picture four times as good as conventional film. It still does. With 3D fading and the possibilities offered by a new Red camera, its time may be here at last. 

Dean Goodhill, the inventor of MV48, laid low while seeking studio backing. Now, he tells me, the time has come to go public. After reading the recent letter from Walter Murch I ran on my blog, he wrote me one of his own. -- RE

I received a letter that ends, as far as I am concerned, the discussion about 3D. It doesn't work with our brains and it never will.

The notion that we are asked to pay a premium to witness an inferior and inherently brain-confusing image is outrageous. The case is closed.

This letter is from Walter Murch, seen at left, the most respected film editor and sound designer in the modern cinema. As a editor, he must be intimately expert with how an image interacts with the audience's eyes. He won an Academy Award in 1979 for his work on "Apocalypse Now," whose sound was a crucial aspect of its effect.

After surgery, I studiously avoided looking at myself in a mirror. In my mind my face was still whole. This was not the case, and one day in the hospital Dr. David J. Reisberg came to visit. He was a professor of craniofacial medicine at the University of Illinois in Chicago, and a specialist in facial reconstruction.

I suggested a false beard which I would wear suspended from hooks over my ears, like a kid playing Abe Lincoln in the school play. "It's not like I think I'm fooling anyone," I said.

Documentaries became a box office factor with the rise of such films as "Hoop Dreams" and "Roger & Me." Before then, there were hit music documentaries like "Woodstock" but most other nonfiction films could expect short runs in few theaters before dutiful audiences. What a small but growing minority of Friday night moviegoers is beginning to discover is that there's a good chance the movie they might enjoy most at the multiplex is a doc.

In alphabetical order, these were the best documentaries I saw in 2010:

I should have used the actual N-Word. Then I wouldn't be in the middle of what Huffington Post calls "an N-Word" controversy. By N-Word, I mean, literally, "N-Word," that sly usage that goes along with "F-Word" when we want to say a word without saying it.

By its coverage of this "controversy," HuffPost demonstrates its roots in Old Media and an almost deliberate cluelessness in its struggle to lure meaningless page visits.

Christy Lemire of The Associated Press and Ignatiy Vishnevetsky of Mubi.com will be the co-hosts of "Ebert Presents at the Movies." The two experienced and respected critics will also introduce special segments featuring other contributors and the Pulitzer Prize-winning critic Roger Ebert.

The new weekly program debuts Jan. 21 on public television stations in 48 of the top 50 markets, representing more than 90% national coverage. It will be produced in Chicago at WTTW, where Gene Siskel and Roger Ebert began taping "Sneak Previews" some 35 years ago.

I found some good animated films in 2010, but I didn't find ten. And it's likely that only two of them are titles most moviegoers have had the chance to see. My list reflects a growing fact: Animation is no longer considered a form for children and families. In some cases it provides a way to tell stories that can scarcely be imagined in live action. The classic example is the Japanese "Grave of the Fireflies" (left), about two children growing up on their own after the Bomb fall.