“Eye candy, that’s what it is. I liked it, but it’s eye candy,” my young companion exclaimed as we walked out of the 3-D version of Beowulf, Robert Zemeckis’ combination of digital animation, an epic poem and, for just about the first time since 1953, 3-D photography. I had to admit my young friend was right. You only experience a simulation of actual performances in this version of Beowulf, nor do you expand your ways of seeing, as some of us did back in the early 1950s with early cinemascope and, sometimes, 3-D. Instead the film is an uneasy combination…
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