I consider myself a casual Billie Eilish fan, in that I'm familiar with her hits and recognize that she has an incredible voice, but that's mainly the extent of it. My interest in Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D) was a combination of curiosity about the musician and her tour, and James Cameron's involvement in the making of the movie.

The idea that Cameron and Eilish were teaming up to direct and produce a 3D concert film caught my attention from the first trailer. That's what got me into my seat for a screening of the new 2026 movie, but what I took away from the experience was more than just an appreciation for a concert film shown in 3D. I also learned that Billie Eilish is truly a performer for the fans.

What She Was Made For

Maybe suggesting Eilish is a performer for the fans sounds obvious, or maybe most performers like to think that they do what they do for the people who show up to see them, but my impression of Eilish as I watched the Hit Me Hard and Soft: The Tour concert film was that it's important that she sets the bar by her own standards when it comes to her fans. In fact, the exact phrase she used, which really stuck with me, was:

I don't think I'd fault any mega-star if their primary career aspiration was to maintain their mega-star status. As someone who prefers not to be in the limelight, I just assume there's something in the DNA or brain chemistry of many performers that causes them to shine brighter in front of an audience. Maybe that's part of what motivates Eilish, I couldn't say, but when she shows off the scrape on her hand, and we see her putting herself in arm's length (and grabby-hands'-length) of her fans during her show, it really seems like she has more of a symbiotic relationship with the people who come to see her sing. Satisfying them satisfies her.

She even admitted, when talking about the enthusiastic way people reach for her, that she would've been the same way if an artist she loved was close enough to touch. She knows what they're feeling, and that's something special, I think. It's the biggest thing I took away from the movie, in fact. (Though I would encourage fans to maybe consider trimming their nails if they're hoping to get a chance to touch her during a future concert?)

Other Impressions:

• I loved the parts of the film shot amidst/behind the crowd. There were moments when I felt like I was actually behind a group of screaming fans with their hands in the air. 
• I got tired just watching Billie run around that giant stage. 
• A room full of rescue dogs provided as a mood lift for her team?! ❤️😭
• The scene where she records the looped vocals was so beautiful. 
• As an outsider of the fandom, I appreciated James Cameron's curious approach to showcasing what Billie Eilish does. 
• I love seeing how emotional Billie's fans get at her shows. As a Swiftie, I get it! 
• I need to add more Billie Eilish to my playlists.

I'll close this out by saying that I really hope we continue to see more concert movies, especially featuring big artists like Billie Eilish. Not everyone can afford to see their favorite artist live, and there are plenty of people who would love the opportunity to see the show again, even if they can. What's more, casual fans like me have the opportunity to really see an artist do their thing and learn more about them. I only knew a couple of the songs performed during the film (the obvious ones: "Bad Guy," "Birds of a Feather," etc.), but I still had a great time watching the movie and came away from it with a deeper appreciation of who she is as an artist.

After months of hearing about Billie Eilish and James Cameron teaming up for a 3D concert film, Hit Me Hard And Soft: The Tour is here among the releases on the 2026 movie schedule. It's fair to say both Cameron and Eilish have committed themselves to major projects over the course of their careers. Just look at all the work Cameron put into Avatar, for instance. However, as CinemaBlend learned from the pair themselves, the the process of making this concert movie was something else entirely.

Hit Me Hard and Soft came to fruition after James Cameron decided to pitch the idea via email to Billie Eilish’s mom, Maggie Baird, whom he was already acquainted with. From there, Cameron and Billie connected over the phone about what they could make together. Ultimately, the film was shot during Eilish’s four Manchester shows, which were held in July of 2025. As for what stood out from the experience for Cameron, the acclaimed filmmaker told me this:

The Oscar-winning James Cameron has directed some monumental films over the years in addition to the Avatar franchise. Terminator, Aliens and Titanic are just a few of the other marquee titles the filmmaker can lay claim to. But, in a rare moment in his career, Cameron shared the title of director with the 24-year-old "Bad Guy" singer to translate her vision of the world stadium tour to her fans. The Abyss helmer also said this about his process of working with Eilish:

If you’re familiar with the way Eilish and Cameron work, then you probably know they are very detail oriented and focused on making sure everything is right for audiences. So it would track that these two would spend so much time in the editing room looking over the footage from a two-hour show to make sure everything was just right. While someone might think the making of a concert film might be more lax than something like Avatar, it sounds almost as involved based on further comments from Cameron:

As for Billie Eilish, she's cited her love for Justin Bieber’s concert movies for being one of the factors that inspired her to make her own (aside from literally getting flagged down by James Cameron, of course). And, funny enough, a few days after this interview that viral Coachella moment between her and Bieber happened.

During our interview, the co-directors also talked about what they learned from each other while making the movie. Cameron said he came to understand the importance of Billie Eilish’s fans, while she said she learned a lot about directing for film as opposed to doing so for a live audience. I'm not sure many people could've predicted these two would end up working together, but I'm so glad this partnership happened.

Check out Hit Me Hard And Soft: The Tour (Live In 3D), in all its glory, in theaters now.

If you’re one of the lucky fans who’ve been to a Billie Eilish concert, you know how special that experience is. There’s nothing quite like being in the pop star’s presence in real time alongside other people who’ve memorized the lyrics and been touched by her music, too. In less than two weeks, a lot more fans will be able to witness the energy around a Billie Eilish concert, however. Hit Me Hard And Soft: The Tour (Live In 3D) arrives in theaters as one of the more unique 2026 movie releases.

CinemaBlend had the chance to chat with Billie Eilish and James Cameron after the co-directors debuted the movie’s 3D experience at Las Vegas’s CinemaCon. During my chat with the pop singer, Eilish shared told me how having the director of the Avatar films by her side for this taught her about moviemaking. In her words:

Billie Eilish has put out a concert film before, but the scale was much smaller considering it was filmed at the Hollywood Bowl during the COVID-19 pandemic without a live audience and released on Disney+. This time around she brought James Cameron along to film the four shows she played at Manchester’s Co-op Live in July 2025 with 3D cameras to bring her shows to life. As Eilish also shared:

The 24-year-old has been in the directors chair before for a number of her music videos including “What Was I Made For?”, “Happier Than Ever,” “Lost Cause,” and “Therefore I Am.” Capturing a massive show full of over 20k people is a very different story and it sounds like there was a learning curve for her that she was noticing on the fly. While she had instincts in place for making the live show entertaining for everyone, capturing it as a movie meant different choices needed to be made. As the singer added:

Billie Eilish definitely has a great reputation for breaking boundaries when it comes to releasing her music – with how her Hit Me Hard And Soft album cover was photographed being just one of them. She’s also frequently involved fans in the experience with things like holding listening parties in theaters for the album as well. Her and James Cameron connecting to direct this concert movie feels like simultaneously an unlikely pair and makes all the sense in the world.

You can get tickets for Billie Eilish - Hit Me Hard And Soft: The Tour (Live In 3D), hitting theaters starting May 8.

I love going to the movies and trying out all the latest and greatest ways to enjoy a big-screen spectacle, but I’ve never been down with 3D films and those flimsy and uncomfortable spectacles. I didn’t care for 3D movies growing up in the ‘90s, didn’t like them when they became prevalent in the 2000s, and have no time for them today. Well, that was until I watched the “remarkable” Avatar: Fire and Ash ahead of the new sci-fi movie’s debut on the 2025 movie schedule.

Though I still have some issues with 3D movies (I think this is mostly a problem with a slightly lazy eye causing some blurred images), James Cameron’s latest epic changed things. This isn’t to say I’m going to be showing up at my local AMC Theatre and start demanding those plastic glasses, but this movie has made a believer out of me. Let me explain…

I Actively Avoid 3D Movies, But Made An Exception For Avatar: Fire And Ash

Though I watched the first two Avatar movies in 3D (I didn’t have a choice for the latter), I’ve spent the better part of the past 15 years or so avoiding the format like the plague. Double images, headaches, too much pressure on my sinuses from those disposable glasses they don’t let you keep or throw away, you name it, and I’ve used it as a reason. However, that all changed with James Cameron’s new action flick.

When I was given the opportunity to see Avatar: Fire and Ash in 3D IMAX, I initially turned it down. However, after taking into consideration that Cameron is responsible for some of the best action movies and a handful of iconic sci-fi films, I was willing to make an exception to my rule. You know, I’m glad I did…

Though It Took Some Adjusting, The Experience Left Me In Awe

I don’t know exactly what causes this, but it takes me a while to get used to 3D movies. It was no different for Avatar: Fire and Ash, as I had a rather long adjustment period (this was made easier thanks to the IMAX introduction sequence). That said, a couple of minutes into the feature presentation, my eyes were ready to go, and I was flying through Pandora like I was a Na’vi on the back of an ikran.

I will admit that there were a few moments throughout the mammoth three-hour-and-15-minute runtime where I had to take the glasses off, but that was to be expected with a film this long and intense. Still, though, this movie left me in a state of awe that quickly reminded me why it’s so important to see movies like this on the biggest screen possible. From flying sequences to some amazing underwater scenes to my favorite action set piece of the entire Avatar franchise, this was a dazzling, eye-popping experience only someone like James Cameron could create.

If you’re someone who doesn’t really care for 3D movies but you get a chance to see Avatar: Fire and Ash in the format (especially if there’s an IMAX option), all I can say is make the plunge. It’s a dazzling, thrilling, and otherworldly experience you won’t soon forget.

Avatar: Fire and Ash is almost here, and while it remains to be seen if the film will make the massive piles of cash it needs to make to be considered successful, it will likely still make a lot of money, and much of that will come from the additional cost of tickets sold in 3D.

James Cameron is a major supporter of 3D technology in cinema, and he recently claimed that one of the major reasons it hasn't seen more mainstream adoption is due to it frequently not being presented at its best in theaters. Cameron obviously wants Avatar: Fire and Ash to be presented as well as it can be, which has resulted in him sending a letter (reprinted on Twitter) to theaters around the country, asking them to review the projection specifications for the film so that it can be seen and heard at its best. Check out the full letter below.

Cameron calls theaters “critically important” to the presentation of Avatar: Fire and Ash, as ultimately, how any individual experiences the film depends on the theater in which they see it. Two people can have radically different opinions on a film that are greatly influenced by its presentation.

I recently learned firsthand just how important this is. I was able to attend an early screening of Avatar: Fire and Ash, and during about the first 20 minutes of the film, the 3D was completely non-functional. The issue was addressed, and the rest of the movie went just fine. Somebody who pays a not insignificant amount of money for a 3D movie ticket is going to be quite upset if they have similar issues this weekend.

It’s a safe bet that a lot of people buying 3D movie tickets this weekend haven’t bought one since Avatar: The Way of Water was released. This is, in large part, because the number of movies released in 3D is way down from where it was a few years ago. However, the general reputation of the format isn’t that positive. Most movies released that way today are done as post-production conversion, a process that is generally understood to create a less desirable end product than filming the movies in 3D, as Cameron has always done with Avatar.

James Cameron has been managing expectations in recent weeks, seemingly indicating that he’s far from sure he’ll be going back to New Zealand to shoot two more Avatar movies as had been the plan. If that doesn’t happen, then it’s possible that Fire and Ash could be one of the last major 3D releases we ever see. If that’s the case, hopefully theaters will make sure it looks amazing.

When James Cameron released the first Avatar movie well over a decade ago, he did so with a major focus on the fact that the film would be made in 3D. The technology, which had been around for decades and progressed greatly since the days of paper red and blue glasses, had evolved into a format that the futurist director believed would change cinema forever.

Technology has frequently pushed cinema. Theaters are always looking for new ways to entice audiences. We've seen IMAX become successful with its massive screens, and 4DX theaters offer guests an immersive experience. Other screen formats have been tried. While 3D hasn't taken over cinema, it is still around.

3D received a major push for many years. Those days seem to be over. Today, while there’s usually at least one movie available in 3D in your local cinema at any given moment, I’d wager the last time anybody saw a 3D movie in theaters was the last Avatar film, and the next time will be the next one.

James Cameron Blamed Projectors For The Lack Of 3D Success In Theaters

While 3D isn’t entirely uncommon, shooting a film in 3D natively is. Most 3D films are done in a post-production conversion, which Cameron doesn't like, a process generally agreed to be not only not as good, but also more expensive. When James Cameron was recently asked why nobody is making movies the way he does, he essentially blamed theaters.

Cameron suggested that projection issues, specifically brightness, could lead to substandard 3D experiences for the viewers, and that this may be a big part of the reason that audiences don’t care about 3D as they should. If they haven’t been wowed by 3D in the past, why should they spend the money now? And I have to say, I completely understand where the director is coming from after watching his latest movie.

My Avatar: Fire And Ash Screening Was A 3D Mess

As a professional writer of words about movies, I get to attend early screenings of many major films. I recently attended a screening for Avatar: Fire and Ash, and while my thoughts on the film itself will have to wait (it's good, don't worry), I want to talk about the viewing experience, because it wasn’t great.

My screening was supposed to be in 3D, but the first 20 minutes of it were not. From the first frame, while the visual image was quite impressive, brightness was not an issue. It was clearly not in three dimensions. I waited a couple of minutes, wondering if the early sequence wasn’t meant to be in 3D for some reason, but it quickly became clear that the 3D simply wasn’t working.

The people managing the screening scrambled to figure out what to do, but when nothing changed in the short term, I just assumed this screening was no longer 3D. That wasn’t that big a problem until the screen started to get an annoying flicker, which I think was the 3D projector trying to display the second image in order to create the 3D effect, but for whatever reason, failing to produce it.

After about 20 minutes, the decision was made to simply stop the film to attempt to fix the 3D problem. It took multiple attempts, but ultimately the 3D was fixed. The rest of the film played without incident.

To be clear, the 3D on Avatar: Fire and Ash is impressive, and I recommend anybody planning to see the film in theaters to see it that way. However, I was also left completely frustrated by the fact that 3D didn’t work for so long.

This isn’t a studio problem, or a 3D problem, and I’m not even looking to throw the theater in question where this happened under the bus, but if 3D is ever going to gain mass adoption from audiences or studios, issues like this need to be addressed. The theatrical experience is only as good as each link in the chain, and if one of them fails, the whole experience suffers.

When the original Avatar hit theaters, it was lauded not only for its groundbreaking use of digital effects but also for its use of 3D. It was believed that 3D would be a major factor in all major film releases going forward, and while 3D was prominently used for a long time, the number of films shot in 3D that really took advantage of the technology has been few and far between.

James Cameron is still a major proponent of 3D. Speaking with The Town podcast, Cameron was asked why nobody else has been able to make 3D work in the way that he has. The director first took aim and the post-production 3D conversion process. Cameron has a blunt opinion on its quality, as compared to when other great directors filmed in 3D. He says:

Cameron says that studios seem to prefer post-production 3D conversion to filming in 3D, because although it costs more than filming in 3D, and produces an inferior product, it gives the studios more control, including the ability to not spend money on 3D at all if they decide so later on.

3D can be an incredible benefit to studios. It increases ticket prices, which means more box office revenue for studios and theaters. A big part of the reason that both previous Avatar movies were as successful as they were is that a lot of people spent the money to see the films in 3D.

However, the biggest hurdle to successful 3D, in Cameron’s opinion, has nothing to do with the way the movie is filmed, and is all about the way the film is presented., Cameron doesn’t believe most theaters present 3D at its best because the projection systems being used aren’t bright enough. Cameron continued:

James Cameron has a great point here regarding something that is vital to 3D presentation that doesn’t get talked about enough. There’s a reason the brightness is one of our criteria when we write about whether it's worth spending the money on 3D. 3D glasses naturally dim an image, which makes the brightness of the screen all the more important. But brightness is also incredibly variable, as it all depends on the state of the projection system in your theater.

Most major releases are still released in 3D, but it's just not a big deal anymore. Other formats, like 4DX, have tried to make inroads but with limited success. Many thought 3D was little more than a gimmick when it started, and that sometimes seems to be the case.

While I’m not sure fixing projection brightness would make everybody more willing to spend money on 3D movies, it would be nice to have the confidence when seeing a movie in 3D that it will be bright enough. A lot of people will probably be springing for a 3D ticket to Avatar: Fire and Ash, hopefully they’ll see it in a theater that’s bright enough.

While we wait for the Avatar sequel, Fire and Ash, to be released on the 2025 movie schedule, I’m excited for an unrelated project that James Cameron is currently working on. The famed filmmaker is collaborating with Billie Eilish on a mysterious 3D project, and the Barbie singer just got into what it’s been like working with him for the first time. As a fan of them both, I’m starting to really anticipate what they’re cooking up.

When Billie Eilish sat down with The Wall Street Journal, she was asked about the upcoming project. Here’s what she revealed:

For some background, back in July, while Billie Eilish was on stage for one of her four arena shows in Manchester, England, she announced to a sea of her fans that there were “more cameras than usual” because the show was part of “something very, very special” with the filmmaker that’s “going to be in 3D.” She then told the crowd they were “part of a thing” together before revealing Cameron was also in the audience. Check out her comments below:

If I were to guess, it sounds like Billie Eilish is working on a 3D experience of her Hit Me Hard And Soft tour for theater-goers to enjoy at some point. The 23-year-old singer has cultivated original and unique projects for her fans before, from the Disney+ concert experience she released in 2021 for her prior album to holding listening parties for Hit Me Hard And Soft last year, before Taylor Swift did so for The Life Of A Showgirl earlier this month.

I find it rather amazing that Eilish, who directs many of her own music videos, is getting the chance to work with one of the best directors of our time, and on something that she thinks is like “nothing” she’s ever done. I do wonder if it will simply be her tour filmed for 3D by James Cameron, or if there’s a lot more to it that we don’t know about yet. Considering how cutting-edge Eilish and Cameron can be, I don’t doubt there’s something groundbreaking about what they are working on.

Eilish has been touring Hit Me Hard And Soft for over a year now, and she has ten shows left to play in what will amount to 106 shows. I’m so happy there will be a place for fans to relive or experience it for the first time. Now, we just have to wait for the project to be officially announced.

When it gets announced that theme park attractions are undergoing a significant refurbishment, we expect them to come out the other side either unchanged or with some sort of update. We’ve seen the Hatbox Ghost added to the Haunted Mansion, and Epcot's Frozen ride is about to get new state-of-the-art animatronics.

You wouldn’t expect an attraction to come out of an update as less than it was before, and yet, at least on paper, that’s exactly what’s happened to Remy’s Ratatouille Adventure at Epcot. Following in the footsteps of the version of the ride at Disneyland Paris, Epcot’s dark ride is set to go into refurbishment next month and have all its 3D video sequences replaced with standard 2D video.

At CinemaBlend, we tend to have strong opinions about theme parks, which is not to say we always have the same opinion about theme parks. As the site’s resident theme park expert, I certainly have strong feelings, but so does our Editor-in-Chief, who is honestly more than happy to see 3D go away.

Why CinemaBlend’s Editor-In-Chief Is Happy To Say Goodbye To Remy In 3D

Mack Rawden: Not every dark ride at a Disney Park needs to be like Peter Pan’s Flight or Mr Toad’s Wild Ride. The habitually short lines at The Many Adventures Of Winnie The Pooh are a good reminder that the concept of a dark ride can and should evolve for modern audiences. We should all expect progress, but Remy’s Ratatouille Adventure is way too much.

The basic conceit of the ride, that you’re extremely tiny and everything around you is gigantic, is a good idea that fits the movie’s theme. Unfortunately, the execution is visually overwhelming and, at times, jarring, partly because of the 3D. Remy is all about motion, but that motion, coupled with 3D, means there’s a lot going on in the periphery. If the 3D presentation isn’t completely seamless and crisp, all that chaos becomes disconcerting.

The last time I rode Remy’s Ratatouille Adventure, there were moments I loved, and there were moments I felt physically ill. At one point, I literally shut my eyes. That’s never been a problem for me with Disney’s other 3D rides. Given the removal was allegedly driven at least partly by guest surveys, I’m clearly not the only one bothered. I’m glad Disney is changing the recipe.

Why CinemaBlend’s Theme Park Expert Will Miss 3D At Remy's Ratatouille Adventure

Dirk Libbey: To be sure, Remy’s Ratatouille Adventure is not the most important theme park ride in the world. It’s not even the most important theme park ride at Epcot, but I’m disappointed by this technical downgrade for the simple fact that it is a technical downgrade.

I’ve always been a fan of 3D movies. I remember going to the theater wearing cheap paper 3D glasses on the rare occasion a 3D movie was released in theaters back then. But what I really remember was the first time I watched Captain EO, and saw a really high-quality 3D short film at Disneyland. While the technology has been hit or miss for theatrical exhibition, theme parks have been a place where an experience you’re not likely to get elsewhere has always been available.

I don’t doubt the removal of 3D will improve the experience for some, but it will also make the entire experience less impressive for all. I don’t just want attractions with 3D today, but I want attractions with whatever the next generation of the technology will be that will exist because of advancements in 3D technology. How much longer will those advancements take if 3D isn’t seen as a desirable technology now?

Warning: mild spoilers for The Fantastic Four: First Steps may be in play. Please keep that in mind before proceeding.

Dear friends, readers, and true premium format believers - welcome back! The cavalcade of 2025 movies has been a fruitful assortment of added bells and whistles, and now it’s The Fantastic Four’s turn to join the parade. Which means we must return to To 3D or Not To 3D, everyone’s favorite show, where we put you in the know on how to go!

Through a generous grant from ReedTech and the Future Foundation, I’m here to walk you through whether the 3D/4DX presentation is worth your hard-earned money, or if you’re better off buying a H.E.R.B.I.E. concession vessel of your own. If you want to know more about how this picture plays as a traditional narrative experience, you should check out our The Fantastic Four: First Steps review.

For those of you still with us, let’s slip on those polarized glasses and get fantastic with Marvel’s First Family of Heroes.

Overall Fit Score - 4/5

Surprisingly enough, premium formatting is a new frontier for this storied Marvel saga. The Fantastic Four: First Steps is the first flick featuring this team to be a premium format experience, and that makes it a pretty natural fit for the various versions it sports. (Don’t forget, this was “Filmed for IMAX,” after all.) For my money, I’d say this is the best Marvel movie of the year - both in terms of the narrative and its flashy enhancements.

Overall Planning & Effort - 4/5

Love and Care translate into Planning and Effort in the world of 3D/4DX thrills. That’s something that is very much a part of this Fantastic Four voyage, as both sides of the house hum along rather well. Though, as you might expect, there are some aspects here and there that lag behind just a little bit, with one nemesis factor seeing a slight improvement.

3D Before The Window - 4/5

On the whole, the “Before the Window” portion of this 3D product is very solid, but stops short of flinch-inducing. The projection of items and characters out of the screen is well played, and holds up throughout the entirety of First Steps.

However, the most impressive shot is a scene where Shalla-Bal (Julia Garner) is flying towards the camera, with an extreme close-up on her face. It’s a very impressive image, which enhances a moment of third-act drama with great effect; similar to how No Time To Die's 3D presentation gave us a deeper look into Daniel Craig's facial structure.

3D Beyond The Window - 5/5

Spacefaring epics and superhero adventures both serve as potential launchpads for a 3D movie to show great depth. Whether it’s the farthest reaches of space or a crowd of New Yorkers on Earth-828 watching The Fantastic Four make first contact, the “Beyond the Window” segment of the film at hand holds its own in spectacular clarity.

Spatial reasoning is nice and crisp with the characters and environments on offer. I have to also highlight that Sue Storm (Vanessa Kirby) truly is the MVP of both Before and Beyond the Window, both sides taking advantage of her powers.

3D Brightness Score - 3/5

This may not come as a surprise to you, but the Brightness in this presentation took the usual hit that seems to come with 4DX. At least, that’s what I’ve observed with my auditorium of choice; so keep in mind that your mileage may vary depending on how your local moviehouse maintains its equipment.

You won’t have a problem making out the action, even in the depths of the ship that carries Galactus (Ralph Ineson), but there’s definitely room for the brightness to be bumped up - especially on such a vibrantly colored spectacle.

3D Glasses Off: 5/5

When you take your 3D glasses off, you might notice that things get so blurry you’d swear Sue was altering the image in front of you. That’s because there’s usually a huge amount of blur that goes into such a special version of something like The Fantastic Four: First Steps.

Typically, the more blur there is, the more your image is being manipulated to present the 3D effect. If you want to test the shift in blur between items in focus, flip your shades up during Galactus’ third act stare down with one of the team members. You’ll know the scene, and you’ll be able to see how the heavy blur transitions from one character to another in the middle of an epic conversation.

4DX Water Effects: 5/5

I did not expect the water effects to be very present in The Fantastic Four: First Steps, and rightfully so. After seeing the film in IMAX for my first screening, I knew there were a couple of moments of moisture here and there, but nothing too heavy. I was proven wrong in that assumption, and in a way that seriously stunned me.

You can thank several moments of Shalla-Bal silver surfing through space for that, as whenever she rides fiery currents of deep space debris, you get more than just a seat-based sprinkle. That’s right, the ceiling-based fans and sprinklers are put through their paces, adding even more excitement to some of the most breathless runs of action in the Marvel Cinematic Universe’s latest return.

4DX Scent Effects: 2/5

Time for a double-edged scenario, my friends! I’ll start with the good news - The Fantastic Four actually gets some sequences with scent effects, and it works rather well. The bad news is that it’s only one scent, and it’s mostly used whenever Johnny Storm (Joseph Quinn) flies with his flame powers. It was nice to see an old friend back for the ride, but I’m still rather sad that we’re not getting a more varied olfactory palette.

4DX Light/Air/Smoke Effects: 3/5

Speaking of the “Human Torch,” I was baffled to see the lack of smoke effects present in The Fantastic Four: First Steps. Even amidst the wildest of presentations of motion effects, you’d notice the smoke coming from below the screen in your auditorium. There was also very little usage of the strobe lights, save for one scene where it went off. What’s really carrying this segment is the air effects, thanks to the fans helping us feel like we’re either Shalla-Bal surfing the galaxy, or the Fantastic Four springing into action.

4DX Motion Effects: 5/5

The bread and butter of any 4DX-perience, you can usually count on the motion effects to be solid. You may think this is the easiest portion to calibrate for a big blockbuster, but after F1’s “fine-tuned” 4DX variant, I’ve learned my lesson. Just like the Air effects, the Motion segment in First Steps lets you feel like you’re each member of Stan Lee and Jack Kirby’s superpowered team.

Throw in some antics with the Fantasticar, and you only sweeten the pot further; however, the real cherry on top is how the seats seemed to vibrate with the folk song “Let Us Be Devoured,” which plays over the end credits. Be sure to check out Regal Cinema's 4DX safety regulations before heading out, as this ride does get a bit rough.

Overall Audience Health - 5/5

I’m not a doctor, but I think it’s safe to say that the 3D and 4DX for The Fantastic Four: First Steps will not make you uncomfortable or uneasy in any way. Your eyes and your stomach will be safe - but be sure to secure your concession items before the journey. Unless you want yourself, or the people sitting next to you, to walk out of the theater trying to figure out how to get mustard off of a shirt.

Final Verdict: 45/55

The Fantastic Four: First Steps makes its way into the world in grand fashion and is definitely worth your premium format dollars. If you want to skip the physical stuff, the IMAX presentation immerses you with glorious sound, gigantic picture, and its own 3D variant worth considering.

Those of you looking to strap into something a bit more sensory will have quite a bit of fun if you head beyond the typical moviegoing experience and into the 4DX realm! Which means that’s your cue to head off to the theater to see director Matt Shakman’s retro-futuristic hero drama at a theater near you. So until we meet again, be sure to recycle your glasses, mind your surroundings and snack offerings, and have fun with the 3D trailer for Avatar: Fire and Ash that’s presented with this would-be Marvel Studios blockbuster.

Ah, the dinosaurs. Celebrated for their excellence in terror and mayhem, there is a 2025 movie we’re about to talk about named Jurassic World Rebirth that revels in both. So while most people are arguing over whether or not this is a good sequel to the 1993 original, we’re here to ponder over another important question: To 3D or Not To 3D?

If you want to know how I felt about director Gareth Edwards’ entry into the series as a cinematic experience, you can read my Jurassic World Rebirth review. For those of you who want to know if this walk with prehistoric beasts is worth the extra ticket money, or if you’d be better off saving up for a ticket to Ile Saint-Hubert, this is the place to be.

Wait, that was a boring introduction; can I take that again? What I should have said is, welcome…to Jurassic World Rebirth’s 3D/4DX!

Overall Fit Score - 5/5

The Jurassic series started in a time when standard format showings ruled the earth, so this isn’t exactly a series that had premium format baked into it. Of course, as any scientist will tell you, the right beast will evolve to fit its environment, which is exactly what this franchise has done. IMAX, 3D, and now 4DX have become natural additions to the Jurassic World, so I didn’t question snagging a ticket to the 3D/4DX showing. (Sorry, IMAX fans, the swift booting of F1’s magnificent 4DX showing came with a cost - and that was maintaining its large format footprint.)

Overall Planning & Effort - 4/5

I have to wonder if any of the folks at Universal Parks were consulted for Jurassic World Rebirth’s premium format package. Taking this voyage actually reminded me of some experiences with Universal Orlando’s rides, with some natural throwbacks to Jurassic Park River Adventure coming to mind as well.

While some of the usual problem factors present themselves here, Rebirth’s overall thrill ride is quite solid - bordering on top tier. The folks at DNEG should have all of the hats tipped towards their efforts in 3D conversion, as this film has some seriously crisp 3D punch. None of it made me flinch, but that may have been because the 4DX part of the ride was as rockin’ and rollin’ as should be expected.

3D Before The Window - 4/5

When you look for what to expect before the window in a 3D movie, you should always be looking for what pops out. No, literally, the effects that jump out of the screen and move towards you are what occupy this sphere of thought. Jurassic World Rebirth doesn’t have any major problems with this factor, and it mostly takes advantage of this piece of the puzzle.

If you’ve ever wanted to feel threatened by Ed Skrein pointing a souped-up shotgun at you, or Mahershala Ali pointing his finger at you, telling you to run, this is the place you should be. Oh, and there are some cases where dinos like the Spinosaurus feel like they’re going to snap you up out of your seat. So if you’re into dinosaurs on your dinosaur tour, that’s on the menu as well.

3D Beyond The Window - 5/5

Flipping the 3D lens in the other direction, going beyond the window, measures how much depth of field we’re getting in any given conversion. Do you feel like you could walk through the jungles of Ile Saint-Hubert? Does it look as if you could walk between Scarlett Johansson and Jonathan Bailey, in the name of grabbing one of those Dr. Peppers in the gas station scene? Then you're traveling beyond the window, baby!

I don’t think I’ve seen spatial reasoning this beautifully defined in quite some time. To invoke the gold star experience of seeing Daniel Craig’s face well defined in No Time To Die’s 3D presentation is saying a lot for any movie. Jurassic World Rebirth gets pretty close to that height, and has so much depth you’ll want to run and pet that ailing Brachiosaur on the streets of New York.

3D Brightness Score - 3/5

It was always going to come to this, wasn’t it? For as long as I’ve been doing 3D/4DX hybrid write-ups, I’ve noticed that the brightness tends to be a bit dimmer than usual in this particular format. That could be due to the theater I’m attending to see these showings, as your mileage will vary depending on how your local moviehouse tends to its projectors between formats.

Unfortunately, I think one of the downsides to filming Jurassic World Rebirth on beautiful Kodak film is that a lot of shots involving even the slightest shadow on people’s faces become automatically dimmer. I’m thankful the night-based scenes aren’t terribly obscured, so the Distortus Rex is still frighteningly visible in its third act rampage. Sadly, this conversion seemed to need a little more time to cook in this department.

3D Glasses Off

All of this talk about brightness and windows probably has you wanting to take your 3D glasses off about now. Which is natural, as we learned early in childhood that if you do just that, you get a really cool blurring effect. Growing up, we learn that this blur is supposed to be a sign of greater image manipulation; thus leading to a really cool stereoscopic image as a result.

That’s pretty much what’s on tap with Jurassic World Rebirth. Your usual 2D anchor points are very much present, while the rest of the world blurs into double vision. So Scarlett Johansson can look perfectly clear in a scene where Rupert Friend is trying to sell her on visiting a dinosaur island, while the New York skyline looks like it’s glitching in the Spider-Verse.

4DX Water Effects: 5/5

They weren’t giving 4DX-branded ponchos out just for fun, folks. Jurassic World Rebirth has two big set pieces involving aquatic thrills to boast about: the Mosasaurus chase and Jurassic Park’s deleted T-Rex river scene. Both of those scenes pass muster in the world of 4DX, with both the seat-mounted cannons and the ceiling-based fan/sprinkler system springing into action when the time is right.

You kind of have to feel sorry for Manuel Garcia-Rulfo and his on-screen family, because that Rex-based scene has you splashing along with Rebirth’s Delgado delegation. However, the devil is in the details with 4DX, and there’s one scene that took the cake with its subtlety.

When Jonathan Bailey is grabbing the sample from the Quetzalcoatlus nest, the ceiling sprinklers actually drip some water on the audience's heads. I didn’t expect that, and it was a nice touch that added to the immersive nature of the film.

4DX Scent Effects: 1/5

I think 4DX scent effects are dead, folks. They’re as present as those two velociraptors that got taken out by that Mutadon in David Iacono’s on-screen bathroom break. There was nothing to speak of, and unless it’s a problem localized to my theater, this is something that someone at 4DX may need to address. Pretty please.

4DX Light/Air/Smoke Effects

Speaking of 4DX effects that seem to have gone away, Jurassic World Rebirth’s 4DX trailer featured some pretty strong usage of the air cannons mounted to the seats, only to disappear in the finished film. Scarlett Johansson’s big shootout with the Mutadon in the tunnels still looks pretty awesome because of the 3D effects, but missing that texture was a bit of a bummer.

Likewise, for the absence of any sort of light effects, which could have very easily been included in the early scene where The Essex is sailing through a stormy night. The opening lab crisis would have been a good place to use that factor as well. At least the smoke effects were pretty active, highlighting fog, engine fires, and other obscuring factors.

Last, but not least, the air effects are on fire with Rebirth, allowing you to feel the wind in your hair while walking with dinosaurs, or inadvertently speeding towards a D-Rex.

4DX Motion Effects: 5/5

I’m going to try and say this with the most rational adult verbiage I can: Jurassic World Rebirth let me feel what it was like to walk like a T-Rex, and I will forever love it for that. The Raft Scene includes some prime moments of dinosaur walking that show off why Motion Effects are the meat of the 4DX-perience, and that’s only the beginning!

The rocking of the Essex, both in peace and in a dino battle, highlights the subtlety that can be present for this sort of experience. Meanwhile, a frantic Rupert Friend driving towards that Distortus Rex is an all-out spectacle, right down to the beast pounding its fist to stop the Jeep in its tracks. It’s wild, but rightfully so - which is a good time to remind you all to check out the 4DX safety regs before heading out.

Overall Audience Health - 5/5

If there’s any potential for audience discomfort, it may be from the boat-based scenes rocking in a very realistic fashion. I didn’t have any problems, and neither did any of the members present in the thrilled crowd watching this showing.

The 3D factor isn’t a problem either, as it’s more of an annoying dimness rather than the frustrating, eye-straining sort. (Sorry, Wicked 3D/4DX, need to call you out on that again; if only so you can change for good.)

Final Verdict: 45/55

Jurassic World Rebirth may not have IMAX on its side, but it put the 3D/4DX format to wonderful use. I’ve decided to absolutely endorse this experience, as I think the bells and whistles helped me enjoy this movie a little more the second time out. So if you’re going to see this Rebirth, definitely spend the extra time and money for the premium thrill ride!

That wraps up my thoughts on Jurassic World’s latest installment in theaters, and regardless of how I feel about certain pieces, I look forward to more adventures with these beautiful creatures. (Seriously, they gave us a T-Rex rolling over like a sleepy cat. Never forget that.)

As for our next 3D/4DX excursion, next week delivers James Gunn’s Superman in this gorgeous format! While I won’t be doing the all-out write-up like you saw above, I’m sure I’ll have something to say about how Krypto is even more of a good boy in stunning premium exhibitions. Until next time, my fellow cinematic adventurers!

Relax, dear readers, your eyes don’t deceive you with that headline. Just as Universal/DreamWorks have remade the 2010 fan favorite How to Train Your Dragon, the studio has given its well regarded franchise another premium format finish. Which means it’s time to ask an old question that gets new answers each time: To 3D or Not To 3D?

This time, the difference is even more marked with the addition of the 4DX format! So if you’re curious how we felt about the picture as a cinematic experience, then feel free to check out our How to Train Your Dragon review! But if you’re ready to see if this premium hybrid soars or sinks, you’ve come to the right place. Oh, and don’t worry, Toothless is still adorable in live-action.

Overall Fit Score: 3.5/5

It should be a no-brainer to bring this franchise to the realms of 3D and 4DX. Both formats have been present in this franchise’s history since How to Train Your Dragon 2’s 3D release in 2014. But director/writer Dean DeBlois’ 2025 live-action remake has been riding the 4DX hype train for some time, as the most recent pre-trailer bumper we’ve been experiencing is the “Test Drive” sequence, in format. That’s not to say it’s a perfect fit, but this movie has a solid foundation to build off of here.

Overall Planning & Effort: 3.5/5

It breaks my heart to say this, but both sides of the Planning and Effort for How to Train Your Dragon’s new revamp have been caught falling down on the job. Sadly, the damage isn’t limited to the typical setbacks, like Brightness and Scent effects. Boasting a 3D conversion from DNeg, and having been “filmed for IMAX,” there is a degree of care presented in the finished product. That fact makes the full breakdown of where this Dragon flight fails to launch all the more heartbreaking.

3D Before The Window: 2/5

There are some moments in How to Train Your Dragon’s 2025 remake where the 3D thrills act as they should. In the case of our Before the Window presentation, the opening scene where dragons lay siege to Berk is actually an early standout. Even in the moments where the projection of debris and other elements of the third dimensional picture are played well enough, there’s never a flinch-worthy moment that highlights an exemplary 3D performance. Though there is a slight silver lining of the facial features of stars like Mason Thames being drawn with noteworthy depth - similar to Daniel Craig’s face in No Time to Die’s 3D presentation.

3D Beyond The Window: 4/5

Knowing how to balance the limitless depth of wide open scenes with the establishment of more personal moments is something that any good 3D movie does well. How to Train Your Dragon doesn’t suffer in this department, as you can get your fill of both sides of that coin throughout the picture in question.

Though in the screening I observed for this write-up, I noticed how well the up-close scenes worked over larger canvassed moments. Considering the 3D effect actually remains for the closing credits, this particular effect gets to show off for longer than most pictures.

3D Brightness Score: 3/5

Where did the color go in the How to Train Your Dragon remake? Seriously, just because you make a “grounded” live-action movie doesn’t mean you need to strip away the flashier bits of the canvas. Admittedly, your mileage may vary in this department, as theaters will vary in how they maintain their 3D projection equipment.

Also, since this was an “Early Access” screening, I’m wondering if there’s a chance the first proper screenings will be a potential improvement. While you’ll still be able to watch this adventure without much eye strain, you’ll probably notice that the color drain seen in the How to Train Your Dragon trailer is still present in the film proper.

3D Glasses Off: 5/5

Taking your glasses off during a 3D presentation, you’ll notice a blur to the image that shows the level of manipulation employed to create the illusion of a three-dimensional picture. Though the final effect may not land as beautifully as one would have hoped, there is a solid level of blur presented. The usual balancing act between blurred backgrounds and 2D anchorpoints being presented front and center is present, which has me further questioning why the overall effects weren't more exciting when put together.

4DX Water Effects: 1/5

Those 4DX previews of How to Train Your Dragon sure did spoil us audience members when compared to what we got out of the finished product. For a movie that takes place on an island that’s surrounded by mist and waves, there is very little splashing about on the isle of Berk. “Light sprinkles” are the most I can report from my experience with this particular movie, and that’s a real disappointment when there’s scenes involving close proximity to the ocean, literal buckets of water being tossed, and, of course, dragon spit.

4DX Scent Effects: 1/5

If you’re surprised by the lack of 4DX scent effects, then welcome, newcomer! This seems to be the habitual problem child on this side of the house, and I couldn’t even smell the usual entry level grass and dirt scents I feel were much more prevalent in earlier movies. Can someone become scent blind to 4DX?

4DX Light/Air/Smoke Effects: 2/5

How to Train Your Dragon is one of the rare movies that actually uses the strobe light effect; courtesy of Toothless’ supercharged dragon blasts. But as you can tell with that caveat, there’s not a lot of strobe lighting effects used in the full film. Smoke effects are equally sparse, and the disappointment in how mild the air effects feel during any sort of dragon flight action is very real.

4DX Motion Effects: 5/5

I would have been the most disappointed in How to Train Your Dragon’s live-action remake if the motion effects in 4DX didn’t live up to the hype. This is usually where 4DX excels anyway, as movement is quite possibly the easiest piece of this puzzle to portray. There’s a nuance to the motion too, as everything from Hiccup clumsily running through Berk to dragons running, flying and lunging is truly felt.

So unless you’ve got tickets to Epic Universe this weekend, this is the closest you’re going to get to flying on Toothless. But just like any major roller coaster, you're going to have to keep in mind 4DX's safety regulations before bringing younger audience members along for the ride.

Overall Audience Health: 5/5

No nausea here, folks. You might feel a bit frustrated that you’re seeing almost exactly the same How to Train Your Dragon you probably rented or streamed to prepare for this live-action remake; but that’s not on the 3D/4DX thrills on display.

Final Verdict: 34/55

Let's be honest, the major draw of How to Train Your Dragon in 3D/4DX is to feel like you're riding Toothless. If that's all you want, then this is 100% the ticket you should be buying. While this picture knows how to splash out on big set-pieces, it fails to immerse the audience in a way similar to the impressive Sinners' 4DX-perience we got earlier in the year.

But perhaps next week's premium offering will fare better; as the long-awaited sequel 28 Years Later will be presented in 4DX glory. The results of that non-3D experience should be when we meet up next, so don't forget to come back and see if this dynamic premium format can turn a scary movie into something truly frightening!

For some the moment that Lilo & Stitch arrived on the 2025 movie schedule was something to fear. Meanwhile, others have been awaiting the live-action take on Disney’s 2002 classic, and have accepted the film in their own way.

Thankfully, I fall into the second bucket, which means that I get to focus on one of my favorite questions to ask: To 3D or Not To 3D? Oh, but that’s not all my friends. Much as popcorn pairs well with soda, the 3D format has a friend in 4DX - which was also present for this screening.

So if you want the standard Lilo & Stitch review, we’ve got you covered. But if you’re a premium format fan, a representative of the United Galactic Federation, or someone who wants to learn more about Earth people’s obsession with the movies, consider yourselves Ohana and stick around!

Overall Fit Score - 4/5

For the most part, the comparative experiences we’ve seen in the Disney live-action remake space have been so-so. In fact, I remember Aladdin’s 3D not being particularly fresh, and there were a lot of problems with the brightness in The Little Mermaid’s 3D variant. It’s for those reasons that I’m kind of sad I missed out on the recent Snow White 3D/4DX adventure, as that may have been a more direct comparison for what we’re working with here.

But even with Lilo & Stitch standing on its own, the fit is certainly promising. With a cute and fluffy alien experiment wreaking havoc in Hawaii, 3D locks into that piece of the puzzle rather well. And when it comes to the 4DX, character movement and rides in various modes of transportation take on a new edge. Not to mention that latter half is calibrated so there’s tons of sensory thrills, while also being totally family friendly.

Overall Planning & Effort - 4/5

Fitting into the format is one thing, but actually executing in a way that adds to the experience is another. And thankfully, the level of Planning & Effort on Lilo & Stitch is on the same level as the fit presented. On the 3D side, the good folks at both DNEG and SDFX have contributed their time to creating a third-dimensional enhancement to the picture that plays really well.

While there are some traditional trouble spots on both sides of the hybrid house, the enhancements work to add something different. The end result is a bit restrained, but it's also not a waste of time, and that may be part of keeping this Hawaiian roller coaster ride accessible for all audiences. (We'll talk more about that in the 4DX section, for sure.)

3D Before The Window - 4/5

While director Dean Fleischer Camp’s new take on Lilo & Stitch has made its fair share of changes, such as removing the blasters Stitch is carrying upon landing on Earth, the Before the Window factor doesn’t suffer. I think there was an opportunity to further push objects out into the audience, especially with scenes of natural Hawaiian splendor showing off beautiful waves.

The intergalactic weaponry that is present does stick out rather well. So do smaller moments like when Lilo (Maia Kealoha) points to a constellation of glow-in-the-dark stickers on her ceiling.

Reflecting on how the grand scheme of 3D filmmaking used to fall short in this aspect on a regular level, the product shown in Lilo & Stitch is flashy enough. Especially in moments where you feel like a hubcap is flying towards your head.

3D Beyond The Window - 5/5

Here’s where those Little Mermaid comparisons really start to come into focus, as both the Beyond the Window and Brightness scores are pumped up by how this picture handles the subject of water. Now, without any spoilers, those of you who know this Disney classic know that water plays a huge role in Lilo and Stitch’s journey together.

The Beyond the Window factor is particularly excellent when depicting the life aquatic, as seeing our characters swimming through those blue waters is a gorgeous sight to see. In particular, the early scene where Lilo feeds Pudge, as well as some third-act scenes of water-based peril, are well-suited to the 3D medium.

And whether our characters are on dry land or catching waves, there’s a clean and crisp visual separation between characters and their environments. Which, again, really gets to show off under the sea, or in moments where Stitch is confined in various vessels of containment, just waiting to be broken.

3D Brightness Score - 3.5/5

Folks, let this be a reminder to you that not all 3D experiences are created equal. If you go to enough glasses-required viewing experiences, you’d be able to determine which theaters maintain their equipment between traditional and premium showings, and which do not.

Considering I went to the first morning show of Lilo & Stitch, which came after a showing of Mission: Impossible 8 in 4DX the night before, there may have been some calibration issues. I’m not so sure, because this theater typically presents its 3D films a bit dimmer, which made watching films like Wicked in 3D and 4DX a bit of a challenge.

But even with all of that in mind, I have to say that this Disney live-action translation beats The Little Mermaid by keeping things really clear and clean in the underwater portions. This further proves that Brightness is perhaps the greatest case of a factor where all of the P&E in the world won't make up for how your picture is exhibited.

3D Glasses Off Score - 4/5

Admit it: you’re going to cry at some point during Lilo & Stitch. Between some of the classic tear-jerking beats and some fresh twists that operate in a more grounded picture, it’s a fait accompli. That means you’ll be taking your 3D glasses off a little more often than usual, which leads to observing the levels of blur that make the total stereoscopic picture possible.

For Lilo & Stitch, things are pretty much standard. Tons of blur in wide shots, as well as background elements that aren’t in focus, which leaves characters or objects in the foreground to be the 2D anchor point. While it seemed like there was a little more 2D at work in some scenes than others, it’s light years away from repeating Sherlock Gnomes’ practically flat 3D conversion. So it’s still a solid win.

4DX Water Effects: 3.5/5

Jumping over to our 4DX criteria, you may want to break out that Moana 2 To 3D/4DX evaluation, as I think some of the same highs and lows were present here as well. We get some pretty well-timed water effects in Lilo & Stitch, and I can safely say that the effort shown here is definitely an improvement. We get to feel moments of rainfall and splashing at the beach, as well as a sneeze that means more than you’d ever think a sneeze would in a film.

But while there could have been more, I will caveat my score by saying that this is probably another factor that was restrained for the sake of sensory-friendly viewing among families. That’s a consideration that’s always prudent with a big tentpole like this.

4DX Scent Effects: 1/5

The scent factor in 4DX has, once again, let me down. I know it’s not a major piece of the puzzle, but I’m still waiting for someone to tune their film to use this aspect in a more impressive manner. Alien: Romulus, you once again remain the high bar in this field.

4DX Light/Air/Smoke Effects: 3/5

I feel like the light. Air, and smoke effects in some movies are held back by how scenes are cut. Don’t get me wrong, outdoor scenes in Lilo & Stitch still have some decent wind flowing through the auditorium, and there’s a little smoke included in the proceedings as well, but neither of those factors are as present as they could have been.

The same goes for the strobe lighting effects, which I feel have fallen in prominence through my further delving into the 4DX format. We do get cool breezes and some light flashes during the firing of laser pistols throughout, but the combined experience is a bit middle of the road. (Blame Transformers One and Alien: Romulus for spoiling me in this respect.)

4DX Motion Effects: 5/5

If you’d doubted that Lilo & Stitch was going to take advantage of the motion effects in 4DX, allow me to put that notion to rest. What I consider to be the bread and butter of this format, the movement of the seats in the auditorium, is definitely spirited and well-synchronized to what you’re watching on screen.

But what sets this movie apart from most others is the characters of Stitch and Pleakley (Billy Magnusson). Fans who want to feel like Experiment 626 will be in luck, as every time he engages his environment, your seat is along for the ride as well.

Meanwhile, the United Galactic Federation’s “Earth expert” gives us a moment of physical comedy, in which getting used to the legs of his human disguise makes the viewer feel just as awkward, but appropriately so. And yes, scenes based in spaceships and other vehicles are so much fun ,you're going to want Disney Parks to open a new Stitch attraction.

Overall Audience Health - 5/5

There are no major 3D or 4DX patches of wonkiness, which ties together the theme of Disney wanting its new live-action remake to play as broadly as it can. While you should definitely check out the 4DX safety guidelines to make sure that younger audience members can partake, there isn’t anything specifically worrisome present.

Final Verdict: 42/55

While Lilo & Stitch doesn’t have an IMAX release to compare, I’m confident in saying that this remake is something that benefits from 3D and 4DX conversion. Chalk this up as another good one for beginners, as this picture balances sensory thrills with a restraint that makes sure the younger members of your ohana aren’t left behind or forgotten.

Thank you, as always, for joining me here in the To 3D or Not To 3D lab, as it’s such a joy to talk about how premium moviegoing can give you more bang for your buck. And if you’ve been missing the more experimental write-ups we’ve been doing, like my account of surviving Final Destination Bloodlines’ 4DX Death Chair, then don’t forget to keep those palate cleansers in mind as well.

As for our next hybrid format title on the docket, check back with us on or around June 13th, when How to Train Your Dragon takes flight in 3D and 4DX! Which means that when/if I check out Ballerina in 4DX, it'll be in a less comprehensive, but nevertheless fun context. Until then, my friends!

Apparently the children yearn for the mines, which is why A Minecraft Movie’s arrival on the 2025 movie schedule couldn’t have come a moment too soon. It feels like we’ve been waiting forever to see Mojang Studio’s video game legacy jump onto the big screen, but it’s now finally here, in living color. And as you’d guessed, there’s a couple questions we need to ask - starting with To 3D or Not To 3D?

What’s more, we’re going to be discussing the 4DX quality of this magical mystery tour as well. So if you’re looking for A Minecraft Movie’s critical reactions, you’re going to want to go somewhere else. But if you’re ready to see if this movie has crafted a premium experience worth the DLC price to your cinematic experience, then step right this way!

Overall Fit Score - 3.5/5

Thinking of this picture as an overall concept, A Minecraft Movie feels like it’d be built for 3D and 4DX. Surely an open world crafting simulator that’s seen people build their own rollercoasters would be amenable to the added bells and whistles of these twin formats.

If anything hyped this special package, it has to be A Minecraft Movie's trailer, which did a really good job of setting expectations. So it pleases me to say that the execution mostly sticks the landing. Director Jared Hess’ new movie can be called a lot of things, and two of them happen to be “colorful” and “active.”

Overall Planning & Effort - 3.5/5

The good folks at visual effects house DNEG stereo converted every blocky facet of this Minecraft adaptation’s mythical world. I don’t know if that’s either easier or harder than making sure Jason Momoa’s luscious locks of faded ‘80s glory pop in format, but the 3D half of this equation is the better deal.

Sadly, on the 4DX side of things, the atmospherics that use various sensory stimuli aren’t all that beefy. At the same time, if you really want a physically-moving ride out of A Minecraft Movie, you won’t be disappointed - and you surely won’t lose your lunch between these two titans of premium format exhibition.

3D Before The Window - 3/5

When looking “Before The Window” on this portal-hopping journey, you’d expect certain things to feel like they’re really coming at you. Flaming arrows, exploding blocks of TNT and Jack Black skadooshing through the air are just a few examples of what one would expect A Minecraft Movie to project off of the screen.

The results are merely ok in this department, as even Jack Black and Jason Momoa’s “full man sandwich” hurtling towards the screen doesn’t pop out all that much. Though I will say, one minor highlight to speak of is the wolf Dennis, whose leaps through the air are quite adorable in this format. I wish he could have nudged some of those flaming arrows towards the audience - but I’m not going to besmirch that good blocky boy’s name. It’s not his fault.

3D Beyond The Window - 5/5

Paired with the previous criteria, the “Beyond The Window” effect is the other half of what drives any 3D enhanced experience. Providing the opposite feeling, where picture depth is so full you could fall in, Minecraft fans won’t have a problem digging in with this segment.

Characters and their environments are clearly defined, which leads to some fun contrasts between flesh and blood characters and their other-worldly counterparts. It’s also really neat to see the jagged and pixelated aspects of the world’s aesthetic depicted in such a manner, which is sure to have fans ignoring the Minecraft trailer haters even more.

3D Brightness Score - 3.5/5

Hello Brightness, my old foe. As seen in plenty of other upbeat and colorful premium hybrid experiences I’ve taken in, like Transformers One’s 3D/4DX romp, the dimness of this particular auditorium’s projector dims the shine a little too much for my liking.

Fortunately we’re not talking about a Wicked 3D/4DX level of dimming, as the night scenes in A Minecraft Movie's visually creative world are definitely watchable. That's thanks to one moment in particular I was afraid of being washed out actually showing up clear as a bell.

The scene where Jennifer Coolidge hits a Villager in our world with a very real car is a night scene in the real world. That scene led to an impressive Minecraft mid-credits cameo we can truly consider love at first sight, as we the audience could actually see it unfolding.

Glasses Off Score - 5/5

Should you be a regular viewer of 3D pictures, you’ll be tempted from time to time to slip your glasses off. Which is because you’re either comparing the brightness of the picture with or without your glasses, or you want to see that cool blurring effect. Well, the blurrier that image is, the more the third dimensional effect is supposed to have been manipulated - and A Minecraft Movie has a lot of blur.

The standard playing field applies here, of course. Tons of blurring in the background, your usual 2D anchor points hanging out in the middle of the picture, and the blur coming together in harmony once you put your glasses back on. This is a good point to note that if anyone knows of any 3D conversion classes, I’d be glad to take those courses, as I’d love to learn what to look for in terms of blur quality and the Before/Beyond the Window results that are achieved.

4DX Water Effects: 2/5

Now it’s time to splash down into the 4DX rundown for A Minecraft Movie, which leads to some lukewarm results. I don’t expect effects such as seat-mounted water cannons or ceiling mounted sprinklers to constantly be going off - as that’d lead to a rather soggy experience. However, I am looking for some sort of uniformity.

Which means that if I’m being shown scenes where humans are splashing in puddles, or soaring close to water, I want to feel more than just a tiny sprinkle. This Minecraft adventure does not provide that - but you do get a touch of water when Dennis licks a human. So this isn’t a total failure of an experience.

4DX Scent Effects: 1/5

For a format that likes to boast aromatic enhancements like 4DX, there doesn’t seem to be a lot of variety involved. While I presume mileage may vary on this field, much like 3D brightness and other atmospheric effects, I’m sad that A Minecraft Movie is yet another opportunity for me to call out that there seem to be only three scents tops that are used on the whole for presentations such as this: “bug spray,” “fire” and “earthy woods.”

We only get some brief moments of “earthy woods” in this picture, but I wouldn’t have minded some “fire” during that “Lava Chicken” song Steve (Jack Black) jumps into at the Village chicken stand.

4DX Light/Air/Smoke Effects: 3/5

The “Light, Air, and Smoke” effects department get a decent workout in A Minecraft Movie’s realm known as “The Nether.” Smoke billows in the front of the auditorium during some of the lava-centric visuals in the kingdom of the villainous Malgosha (Rachel House), and it actually happens a handful of times.

That’s probably the factor that carries this segment, however, as the air and light effects don’t go nearly as hard. When Steve, Garrett (Jason Momoa) and Henry (Sebastian Hansen) engage in a chase sequence that ends with them jumping off a bridge, they plummet through the air to a near splash down.

Captain America: Brave New World’s 3D/4DX variant used that sort of opportunity to even throw in a bit of water. Here, it’s bone dry with a light breeze. So there's a decent showing here, but not anything to write to one of your three Minecraft homes about.

4DX Motion Effects: 5/5

Much like Jemaine Clement showing up with a Southern accent in full cowboy mode, this is the true star of the show. Similar to the rough and ready adventure seen in Twisters’ 4DX thrill ride, the movement in this family friendly movie may be too intense for some younger viewers.

Riding with a pack of A Minecraft Movie’s wolves is only the start of the fun, as gigantic Golems, a mine cart adventure and even getting hit by Jennifer Coolidge’s car can be felt to maximum effect with these seats. Not to mention, when an enemy gets speared, hit or knocked around, so do you.

If you're concerned for the younger/more sensitive party members coming along for the ride, check out the 4DX safety guidelines for more details. Also, has anyone talked to Kevin Costner about releasing the Horizon movies in this format?

Overall Audience Health - 5/5

This all might sound like a lot when it comes to a night out at the movies, and that’s reasonable. After all, both the 3D and 4DX formats are part of what makes moviegoing a little extra special - as you can get close to the danger without having a problem. That said, you should have no problem enjoying A Minecraft Movie’s visual and motion-based thrills - unless you’re hypersensitive to such aspects.

Final Verdict: 39.5/55

A Minecraft Movie is a pretty solid, middle of the road experience in the 4DX/3D realms. One might even be able to use this as a moderately paced experience to introduce someone to the motion/atmosphere enhanced format in particular. 3D actually seems to win out on which half is better, so if you want to try that experience on its own, that wouldn’t be a bad recommendation.

Which brings us back to the real world, and to the end of another To 3D/4DX rundown! We’re still experimenting with this feature in a form similar to my previous Mickey 17 4DX highlights; which means you'll have to look a little deeper to see the results. Also, if you want to read about our own Dirk Libbey's first 4DX experience with Novocaine, you can do that as well!

As for the next 4DX movie on the docket, it looks like the vampire action thriller Sinners is on the calendar. And if those rumbling chairs somehow make it feel like I’m Michael B. Jordan firing a Tommy gun on a Depression Era farm, you can bet I’ll be reporting back to tell you how it felt.

Friends, patriots, premium format enthusiasts - we’re back. It’s been a while since we’ve ventured into either the world of To 3D or Not To 3D or 4DX evaluations, but let’s be honest - did you really see Flight Risk in 4DX? No, seriously, was it good? Did I miss something? It doesn’t matter at this point because we’ve reunited to talk about the next chapter of the upcoming Marvel movies.

You could even say we’re facing a new world order, at least that would be true if Captain America 4 hadn’t changed its title. What hasn’t changed is our desire to answer the question of whether or not the premium offerings for Anthony Mackie’s first flight as the new Cap are worth the extra money.

If you want to know about the film as an experience, you can check out Eric Eisenberg’s Captain America: Brave New World review! However, it’s time to put on those 3D goggles and take flight with Sam Wilson, as we find out if this brave new world is a premium spectacle worth your on-screen taxpayer dollars.

Overall Fit Score - 3/5

While this may be our first MCU 3D/4DX evaluation, this franchise is no stranger to either format. Unfortunately Deadpool & Wolverine’s 3D review was written before I started covering the 4DX format - otherwise I’d have more personal background on the matter.

However, trailers for Brave New World previously demonstrated the promise this film held in format. Now that I’ve experienced it firsthand, I'm kind of surprised how the film barely crosses the line into being a positive fit for 3D and 4DX.

Sure, the usual Marvel Studios thrills are present here, but just as the story mashes up the themes of political intrigue and superpowered conflict, the end result isn't quite as balanced. Pedigree aside, this is a weird case of an "OK" 3D/4DX fit, which is due to the overall product.

Overall Planning & Effort - 3/5

Planning & Effort mean everything when it comes to executing on the promise of a movie such as Captain America: Brave New World. And once again, we have SDFX Studios, the 3D workhorse of the MCU, to thank for the stereo conversion effort on display.

Honestly, I hope the reason the fourth Cap adventure doesn’t pop as well as it should in 3D is because the company is hard at work getting the premium release of Thunderbolts* just right. I don't say that as mere point of snark, because I know that the teams working to convert the Marvel movies are probably working so close together on individual releases that something's gotta give. Also, I won't lie, May's MCU offering looks like it's more suited for these premium formats.

The same could be said for the 4DX factor, which, excluding the Audience Health factor, suffers losses across the board. That comes from the mixed bag of features that, when they’re in play, make for a fun ride. However, as I often do when it comes to comparing how motion is used in a 4DX adventure, measuring Brave New World against Twisters’ wild 4DX ride causes this picture to pale in comparison.

3D Before The Window - 2/5

What’s Captain America best known for besides being a moral paragon in a world of frightened politicians? If you said “that sweet vibranium shield,” then congrats - you win! Unfortunately, that’s one of the aspects of Brave New World’s 3D conversion that doesn’t quite stick out as much as it should.

Seeing as you could guarantee that sort of thrill present in the opening logo to every Marvel Studios film, that thrill being absent is glaring. This sort of gaffe is akin to if Moana 2’s 3D presentation flattened her oars, which thankfully didn’t happen. Though I will say, the moment where Giancarlo Esposito unloads his revolver in the middle of a fight was well played.

As for the rest of the picture, there’s some decent finger pointing, gun aiming and vehicles protruding out of the screen here and there. Yet the more I think back to Captain America: Brave New World’s third-dimensional enhancements, the more I walk away with the opinion that it’s surprisingly flat for a premium presentation of an MCU movie.

3D Beyond The Window - 3/5

The good news in the Beyond the Window field dealing with picture depth is that Marvel’s latest doesn’t totally mess things up. There’s some rather sharp delineation between crowds full of characters, as well as separating people from their background environments.

In the grand scheme of Captain America 4, the various functions where President Thaddeus Ross (Harrison Ford) is speaking in front of a crowd are the sections that this aspect shines brightest. Sadly, in keeping with the rather flat picture presented throughout, the depth of picture never feels like you could fall into the image in front of you.

One scene I was hoping to see that level of detail in is the climactic battle between Sam Wilson and his boss in his Red Hulk form. That fails to ever become a part of the full formula that makes up this premium format, though it could have been a lot worse. (See the infamous 3D version of Sherlock Gnomes.)

3D Brightness Score - 3/5

At this point, you’re probably expecting any 4DX-enhanced 3D screening to be in the middle of the road for brightness. That’s partially thanks to your mileage varying due to varied qualities of maintenance of 3D projectors. But in my own bespoke case, I think the location I frequent in my home market is just genuinely dim when it comes to showing 4DX movies - especially in the hybrid premium format.

You can still see things pretty clearly, and it’s not like you’re staring at opaque mud during night scenes. Also, daytime action has the usual grey visual fog that wafts in front of you while wearing those 3D glasses. Which happens to be a good segue into the next piece of the 3D puzzle.

Glasses Off Score - 3/5

This is usually an easy win for 3D movies, as the more blur there tends to be, the more manipulation is present. You’re definitely not looking at a standard 2D picture with Captain America: Brave New World, but I did notice a recurring pattern of seemingly flat components, with the potential for minor blurring present.

As for the end credits, it’s a mix of 3D main on end titles, with the body of the credit roll being flat, only to go back to 3D for the post-credits scene. Which, honestly, I would have let that scene being in 2D slide, as it’s just a conversation.

4DX Water Effects: 4/5

As I’ve noticed in recent premium hybrid presentations, if the 3D is off, then you might be able to count on the 4DX factor to carry the overall result. Going by the water effects presented in Captain America: Brave New World, we’d look like we’re off to a good start.

There aren’t many scenes where you’re doused in liquid at a participating theater near you, but there’s a surprisingly wide range of uses that accompany director Julias Onah’s MCU entry. During that huge Red Hulk setpiece, you’re sprinkled with what feels like a single drop as dirt being kicked up from the White House grounds is flying towards the camera. So to be able to pull that off absolutely gave me something to talk about.

But perhaps the MVP of the Water section of this 4DX product is a scene towards the end in which Joaquin Torres (Danny Ramirez) is in peril, involving a last minute save that prevents him from crashing into the ocean. The exact moment of safety uses a good sprinkling of water, and some air, to pull off a well done accent piece.

4DX Scent Effects: 1/5

I’m tired of the scent palette for 4DX seeming to be limited to acrid bug spray, dirt and vegetation in the jungle, or nothing. Captain America 4 doesn’t use this effect all that much, and when it does, it’s only that first note mentioned being used to signify everything from a corroding car battery to explosive wreckage.

4DX Light/Air/Smoke Effects: 3.5/5

The combined package of light, air and smoke can add quite a bit to the atmosphere of a 4DX showing when done right. If there was one factor I’d expect Anthony Mackie’s high flying soldier to take advantage of in this half of the program, it’d be the huge fans that are mounted on the side of the theater.

Much like the strobe light effect, which was sparingly used when in Samuel Sterns’ secret laboratory, those fans didn’t get much of a workout. Remember that moment where Joaquin Torres almost crashes into the ocean? To my recollection, the fans weren’t even on at that point; although the air section doesn’t totally crash out thanks to tons of gunfire being represented by the cannons mounted to the head and foot rests.

On the more positive side, the smoke effects kind of stole the show with Captain America: Brave New World. That specific segment, while concentrated at the front of the auditorium, felt like it was used more than it has been in a while.

4DX Motion Effects: 3/5

This should have been the slam dunk of the movie, especially when Captain America’s latest front loads you with a wide range of seat movement. Starting with an impressive drop in by Sam Wilson, the first action sequence provides some big ticket excitement, capped off by the seat poking the left side of your back - symbolizing the knife that Cap’s fight partner tries to stab him with.

Other than some car scenes that provide the usual swaying, and an incredibly subtle rocking during a limo based scene, the motion effects are another on-and-off part of this affair. So if you’re feeling the need for speed, pace yourself, because the third act fight over Celestial Island is really the star of the show. Everything else is just ok, even the slight rocking in a top secret third act location.

Overall Audience Health - 5/5

Honestly, you’re not going to feel much of anything with Captain America: Brave New World’s 3D or 4DX components. Even the most top flight of experiences tend to avoid rocking the boat too hard, so this mid presentation scores another easy win.

Final Verdict: 33.5/55

The words "aggressively ok” come to mind when summing up Captain America: Brave New World’s hybrid premium experience. So if you’re looking for something to throw your money towards that’s outside of the ordinary, this MCU entry is technically “Filmed for IMAX.” That might be the better option at this point, but if you do spring for 3D/4DX, it’s not a total waste of time, just more of a disappointment that falls short of the mark.

Which brings us to the end of this latest To 3D/4DX evaluation! Fingers crossed we’ll see each other again next month, as Mickey 17 is the next movie that’s on deck for a 4DX-only experience. And if the trailer shown before Captain America 4 is any indication, the water effects are going to be fun, as it feels like Mickey is spitting blood right at your face! Until then, dear readers.

It’s beginning to look a lot like the fall/winter busy season has returned to the movies, as we’ve got yet another To 3D or Not To 3D hybrid to consider. While I’m sure some of you are still considering Wicked’s 3D/4DX presentation, there’s another option you’re going to want to keep in mind. Thanks to this week’s release of Moana 2, you’ll now have yet another picture to choose from when it comes to titles available in a premium format.

If you’re looking to talk about this flick in its traditional form, then you can read our own Corey Chichizola’s Moana 2 review for just that. But if you’re ready to board the boat of Moana of Motunui in order to sail across the sea in 3D and 4DX, then it’s time to see how far the bells and whistles go on this highly-anticipated sequel.

Overall Fit Score - 5/5

Why wouldn’t you put a movie like Moana 2 into either of the premium formats of 3D or 4DX? Visually, the adventures of this Disney Princess who doesn’t consider herself royalty are a perfect fit for some sort of eye popping magic. Not to mention, a seafaring adventure could be a sensory dream for the 4DX inclined folks in the audience.

Admittedly, you probably didn’t even bat an eye when seeing the marketing materials confirming that this picture would be presented in either format. That's probably because you also remembered that Moana was shown to the world with the 3D option in 2016. Pedigree and potential make this a perfect fit, but did the planning & effort pan out?

Overall Planning & Effort - 3.5/5

Though this is a perfect opportunity for premium thrills to burst out of the screen, while literally rocking the boat, Moana 2 doesn’t perform to the peak potential of either format. Once again, the 3D conversion efforts are the stronger half of this duo, which was kind of a given as the Stereo conversion team credits literally pop out more than any other. At the same time, that’s not a perceived sign of perfection.

Meanwhile, my grasp on the 4DX format continues to broaden, and I’m sad to say the traditional pain points are starting to show themselves. One factor in particular would have been given a zero, if we scored things that way, while most others were decent to excellent. It’s a bit of a mixed bag overall, and far from the heights I saw with Alien: Romulus’ 4DX beauty.

3D Before The Window - 4/5

It’s been a while since 3D effects have effectively poked Before the Window in my local multiplex. In fact, the last evaluation I can remember performing well in this field was The Wild Robot’s 3D/4DX presentation. Score another win for being able to convert CGI animation in a fashion that’s much easier than the approach to live-action thrills.

While we’re at it, it may not be a total slam dunk, but Moana 2’s Before the Window thrills are still pretty exciting. Part of that thrill is the fact that something as small as Moni (Hualālai Chung) holding the boat’s oar pops with this effect, showcasing some of the more mundane moments in a style that shows care and attention to detail. Of course, when a gigantic lightning strike hits Moana with a literal prophecy, that massive event also pops, with the bolt coming right at the audience.

3D Beyond The Window - 5/5

Sailing as far as the eye can see expands the palette for movies like Moana 2, with visuals that give the audience both close up marvels, as well as sweepingly wide vistas. That latter portion of the equation turns the Beyond the Window factor into a potential draw for viewers, as it has the ability to suck all who observe it into the picture with limitless depth.

Another high point for this Disney sequel’s bells and whistles laden presentation, we’re given all of the ocean’s depths in great detail. Human, animal and Kakamora alike are displayed with crisp separation from the environments and scene partners they all share. So it’s not like a whole bunch of figures are blending into each other, and nor are the distances conveyed through any given point in this tumultuous journey.

3D Brightness Score - 3/5

I don’t know if it’s because of the auditorium I frequent locally for 4DX or if it’s something that’s endemic to the format itself, but brightness continues to be a problem. Moana 2 is thankfully not as dark as Wicked’s 3D conversion, so scenes set in the middle of the night are still pretty easy to watch.

Daytime scenes aren’t hampered all that much by the effect, as once you get past the dimming seen in these 4DX pictures it’s just as colorful as you’d expect. As always, mileage will vary depending on the degree your auditorium of choice maintains its rig, so keep that in mind when heading out to the most convenient showtime.

Glasses Off - 5/5

It’s pretty easy to evaluate the Glasses Off score for a 3D movie. All you have to do is take your glasses off, and look deeper at the blur you see present in any third dimensionally enhanced picture. The common conception is the greater the degree of blurring you see present, the more manipulation the picture observed has undergone.

That much holds up throughout Moana 2, as everything from the studio logos to the mid-credits scene is shown off with tons of blur engineered to draw focus to certain pieces of the picture being shown. Standard 2D anchorpoints are there to do the job intended, leaving whatever section of the current scene needs to stand out able to do so. And if you're curious as to how one could potentially be annoyed by even this inconspicuous factor, check out my Sherlock Gnomes To 3D review from back in 2018.

4DX Water Effects: 3/5

If Moana 2 somehow went through its entire running time without at least some sort of water effects, that would have been an automatic disqualification. Luckily, the moisture is moderately strong with this ocean and island-based fairy tale, though there’s still some work that could be done.

In particular, it felt like the cannons mounted on the seat in front of me weren’t quite working as well as others I saw further down in the auditorium. So things like waves splashing would be felt, but not as strong as it looked in other sections of the room. What makes up for this drawback is the fact that the major water effects in storms and larger water based thrills were very much operating. It doesn’t break the game, but it’s something else to keep in mind when deciding where you’re going to see your 4DX movies.

4DX Scent Effects: 1/5

Pull up a chair, my friends: it’s time for a mini-rant. When a movie has a running joke about a demigod that sounds exactly like Dwayne Johnson and smells like coconut oil, you’d think that film would have more of a scent profile to its 4DX package. Unfortunately, Moana 2 had little to no scents at work in the showing I attended for this review. And that’s with noticing what I thought was the sound of the tanks purging themselves during the end credits, which is something that tends to happen after a film has wrapped.

Maybe it has something to do with the water cannon system mounted on the back of the chair, but I got only the slightest scent notes from this Moana follow-up. And much like that time I noted Venom: The Last Dance’s 4DX ups and downs, I wasn’t sure if the moments of fragrant notes were because of a well perfumed audience, or intended by the crew that put this package together.

4DX Light/Air/Smoke Effects: 5/5

Dear readers: the strobe lights are back, and they’ve been used pretty well! In fact, the scene where young Moana gets struck by lightning to trigger a vision is a perfect mesh of the lighting package and the 3D effect showing off optimal 4DX razzle dazzle. With smoke appearing in scenes of big ticket character entrances, and the air helping paint a sensory picture of rough seas, Moana 2 uses this section’s delights to a very impressive effect - right down to some of the light winds that blow during the calmer scenes.

4DX Motion Effects: 5/5

Moana 2 is, quite possibly, one of the wildest rides since Twisters’ 4DX experience. I went in expecting fantastic motion effects, and those expectations were exceeded! Both calm and rough seas were well represented through the motion conveyed through the seats, so the baseline is nicely represented.

However, my hat is definitely off to the team that gave the harrowing adventure of Moana and her crew even more juice through the thrills and spills programmed into the seats. Which is a perfect time to remind you all to take a careful look at Regal’s 4DX safety regulations, as younger and smaller audience members may not be tall enough to ride this ride... and it is a ride.

Overall Audience Health - 5/5

You might feel the chop of Moana 2, and the 3D picture might be a bit darker than I’d like it to be. But if you’re worried about getting sick while watching this movie, then I’d say you’re clear to discard that concern. There’s plenty to feel as we see this young adventurer’s travels, but seasickness can be crossed off the list.

Final Verdict: 44.5/55

If you’re going to see Moana 2, you could do worse than attending to the 3D/4DX experience. And if you do choose to accept this format into your life, then be prepared for something that’ll physically move you. It may leave you with some questions about turning up the brightness or the scent pumps, but if you’re looking for a traditional theme park simulator experience, this works rather well.

With that in mind, it’s time to send you all back out into the world. Who knows when we’ll meet again, as there’s a lot of 3D/4DX candidates heading our way in December and beyond? Just know that when the time comes, we’ll be asking the same questions and searching for the same answers that’ll bring us where we’re meant to go.

Something has changed within me, something is not the same. I can finally say that, as I’ve seen the first part of director Jon M. Chu’s stunning adaptation of Wicked, which left me with great anticipation for what happens next. Thanks to a very special early preview, I can now not only ask the usual question of To 3D or Not To 3D, but I can also answer if the film is worth the extra ticket money and time to track it down in its 4DX combo!

Should you want to know how the experience plays in its natural form, you can check out our Wicked review. But if you want to determine if this holiday tentpole deserves the chance to fly in premium format, you’ve come to the right place. With that said, let’s see if Elphaba and Glinda’s journey is an eye-popping seat mover or if you should just buy tickets to see the closest production of the stage show at your earliest convenience.

Overall Fit Score - 5/5

Seeing as Wicked started its flesh and blood life as a musical stage adaptation of Gregory Maguire’s best-selling book, it’s kind of fitting that there’d be two different mediums that help put the audience into the film. Looking at things from the 3D side of the aisle, Ariana Grande and Cynthia Erivo’s blockbuster spectacle pretty much begged to be enhanced for third-dimensional thrills.

As Twisters’ meteoric 4DX success still on the minds of moviegoers, this particular format’s fans have probably been waiting to know what it feels like to become a singing/dancing student at Shiz University. With both sides of this coin properly set up for success, the 3D/4DX version of Wicked could be quite popular.

Overall Planning & Effort - 3.5/5

Our second averaged field of scoring is the Planning and Effort work put into both sides of the premium format experience. This is the level of critique where you really start to see the quality of an experience in either 3D or 4DX. Ideally there’d be enough time to plan and calibrate this variant of the picture to be an optimal experience for either side of this equation, especially when the movie is a potential blockbuster hit such as this.

Averaged together, the Planning and Effort on Wicked is ok. If I had to pick a side I think benefitted from better execution, it’d be the 3D version by a decent margin. (A major hat tip is in order for SDFX Studios for making this conversion effort possible.) Though it isn’t a crushing disappointment, the fact that we’re only sitting at a 3.5 rating for P&E with a 5 star movie sitting as the foundation is a bit of a letdown.

3D Before The Window - 3/5

When looking at the Before the Window focus of a 3D presentation, we’re seeking the thrills that pop out of the window and into the audience’s laps and/or faces; things like flying coins, broomsticks in flight or even an invitation from The Wizard. These are factors that actually do make Wicked an eye-popping experience, as those sorts of moments are had - and the coin trick actually did manage to make me flinch a bit.

Sadly, there isn’t enough of this effect to impress to the level that Wicked deserves. When they do appear, the Before the Window thrills work quite well. So it’s not so much the execution, but rather the frequency that sees this portion of our evaluation docked a couple of points.

3D Beyond The Window - 5/5

Here’s something fun to consider: Wicked director Jon M. Chu actually directed Step Up 3D, which saw that franchise enter the realm of the third dimension at the dawn of the medium’s post-Avatar resurgence. That’s something interesting to keep in mind as we wind our way through this particular red and blue-bricked road, especially since Wicked’s singing and dancing thrills don’t get lost in the 3D format.

I was particularly worried about the latter half of that enterprise, as keeping people and their environments separated with proper spatial reasoning is hard enough in a less kinetic film. Sure enough, that sort of delineation is crisply exhibited, which really lets the crowd-filled nature of Wicked’s bigger moments take center stage. Trust me, “One Short Day” is going to look as fantastic as it feels.

3D Brightness Score - 2/5

Oh boy, those flying monkeys are going to pay. For the 3D half of our scorecard, the major weakness tends to be the Brightness factor. This is where the traditional advisory of mileage varying due to the level of upkeep your local theater gives to its equipment comes into play. But even with that caveat in mind, my 3D/4DX showing of Wicked was pretty dark in the nighttime scenes.

For a movie so rich in color, the daytime scenes were pretty visible, despite a heavier than usual amount of dimming when slipping the glasses on. However, it’s the nocturnal scenes that really suffer, especially Cynthia Erivo’s heart rending performance of “I’m Not That Girl.” As she sullenly hides in the shadows throughout that number, there are moments where you practically can’t see her through the dimming, and that’s truly disappointing.

Glasses Off Score: 5/5

Removing your glasses allows you to see the thrills behind the curtain, so to speak. That means you get to partake in the blur that makes up the segmented picture that is reassembled, once you put on your 3D glasses. Typically the more blur you see, the more effort there is in the 3D conversion of the film on display; and Wicked is a healthy example of all of the greatest hits in this factor.

2D anchor points and contrasting blur from both background and foreground elements give depth to the images being observed. So you’ll definitely see double when looking at certain sequences without those magic spectacles. I don’t know what the Ozian word is for that sort of observation, but I’m sure there’s a scholar out there who does.

4DX Water Effects: 2/5

I get it, Wicked’s titular lead is a character that can’t get wet, otherwise she’ll die. We still don’t have any answers on why that’s the case in this two-part adaptation, but I wonder if that’s why the 4DX showing I observed didn’t have much moisture to call its own. That’s even with sequences that have Madame Morrible (Michelle Yeoh) showing us why weather is her thing, and, of course, the big show-stopping finale in “Defying Gravity.”

I could only detect water effects being used for two scenes in the 2 hour and 40 minute running time, and they were both simple sprinkles. One moment was to signify broken glass, and another was when Madame Morrible is about to protect Elphaba from an incoming rainstorm. Both made me wish there was more of a consistent usage, similar to Twisters’ 4DX experience.

4DX Scent Effects: 1/5

I’m starting to think the only 4DX scent effects studios like to take advantage of are “Bug Spray” or “Earth Woods.” While Alien: Romulus used 4DX to its advantage, even that picture didn’t seem to mix things up for our nasal cavities. Wicked making limited use of its olfactory canvas is the only factor that surpasses the disappointingly scant use of water effects; and it further drags down this half of the premium format combo.

4DX Light/Air/Smoke Effects - 4/5

We’ve returned to the land of positive thinking here, as Wicked does give those windswept visuals you’ve seen in the trailers some added heft. Returning to the concept of “playing the hits,” we absolutely get smoke effects to accompany things like the introduction to The Wizard (Jeff Goldblum) via his usual smoke and mirrors.

Strobe effects are even present with some of the scenes presented involving lighting and a projector coming to life in the classroom of Dr. Dillamond (Peter Dinklage). But it’s the air that steals the show in this section thanks to its presence in sweeping numbers like “The Wizard and I,” as well as Wicked’s huge closing number - which might be the moment that shows off the best of the 4DX experience you should expect from the total package.

4DX Motion Effects: 5/5

The only perfect score in the 4DX portion of our scorecard is, predictably, the motion effects. If you thought getting impaled by a Xenomorph during Alien: Romulus was a harrowing sensation, try sprouting wings like the unfortunate flying monkey who becomes one of Wicked’s unfortunate animal companions.

That usage of the vibrating back pads is only the start of what this movie has to offer, as the dancing present in Wicked fulfills the promise shown in Venom: The Last Dance’s 4DX presentation. Venom and Mrs. Chen’s dance break twirled so that every moment of group dancing in this picture could whirl. Also brightening the movement portion of this show is the fact that every time Glinda (Ariana Grande) flips her hair or someone flinches in fright at Elphaba, we feel it in the chair!

Then there’s “Defying Gravity,” the last song in Wicked’s first half of storytelling, which takes motion and wind effects and uses them to amp up the emotions of an already charged song. Movement is the sweet spot in Wicked's 4DX presentation, as it adds the most value on this front.

Overall Audience Health - 4/5

This is the first time I can think of in quite some time that I’ve seen some 3D eye wonk present. There’s minor ocular confusion when watching some of the more active events in Wicked’s spectacular story - most notably in the third act action leading up to “Defying Gravity” that show us the point of view of the flying monkeys. But other than that visual discomfort, and the smooth, but thrilling motion effects, you’re going to be just fine taking in this premium experience.

Final Verdict: 38.5/55

Wicked as a combined 3D and 4DX experience is a lot of fun, but a case where the movie might actually carry the effects, instead of the other way around. With the Brightness and Scent/Water effects falling short, what could have been a defining title in these premium formats finds itself coming off as enjoyable, but by no means required.

And with that last bit of notes, we can now wait through our year-long intermission between Wicked: Part One and the upcoming 2025 movie Wicked: Part Two. There are still some 3D and 4DX thrills on the horizon, so don’t forget to check back often and see what our next trip to this theme park-style experience brings! Until then, never forget that everyone deserves a chance to fly, and that no wizard that there is or was can ever bring you down!

It’s been six years since Tom Hardy’s Eddie Brock and Venom burst onto the big screen, but now it’s time to say goodbye. The band is playing their song, and it’s one of the swan variety; as this is indeed Venom: The Last Dance. For a big finale, you’d imagine an equally large ending would need to be in the offing.

And with that comes another question that’s worth asking: To 3D or Not To 3D? Or better still, to 4DX or not to 4DX? That’s right, friends, the final chapter in Eddie Brock’s adventures splashed out big time! As such, we now have another combined 3D/4DX evaluation to discuss, and there’s a lot to talk over as well.

For a more traditional viewpoint on how this romp plays as a film, check out Eric Eisenberg’s Venom: The Last Dance review. Otherwise, slip on your glasses and hold on tight, as it’s time to decide whether Venom and Eddie shine in the ultimate premium experience, or if you’re better off investing in some more comics.

Overall Fit Score - 5/5

The Venom trilogy has always been a superhero story. Following anti-heroes Eddie Brock and Venom (Tom Hardy) has always offered the sort of superpowered capers you’d expect from a film that feels inspired by the pre-MCU era of Sony. Those sorts of thrills are an obvious fit for potential thrills that use both 3D and 4DX bells and whistles to their fullest potential.

But as we’ve known even as far back as Venom’s 3D presentation in 2018, it’s not the fit score that usually dings the overall product. Since we’re now adding 4DX into the mix, that sort of thinking is doubly present, as we’re taking in two different premium angles in one ultimate experience.

Overall Planning & Effort - 3.5/5

In terms of Planning & Effort for this overall premium experience, Venom 3’s preparation clearly favors the world of glasses-enhanced thrills. Which isn’t a surprise after this year’s Godzilla x Kong 3D presentation, which was overseen by the stereo conversion team over at DNeg! That same company was credited as working its magic on The Last Dance, and it is a visually stunning product.

However, the 4DX side of things took a bit of a hit, especially with the seemingly total absence of one sensory enhancement altogether. Naturally, motion effects are royalty in Venom: The Last Dance’s 4DX lineup, and if you’ve been wondering about how the Venom Horse scene felt, that’s one of the two major highlights to this thrill ride.

3D Before The Window - 3/5

In a really good “Before the Window” example of 3D conversion, you’re consistently feeling like something’s going to poke out at you. Fingers, guns, tendrils and a combination of any of those items, mixed with objects just being flung out of the screen, are expected by discerning audiences.

While I admit that Venom: The Last Dance doesn’t totally waste this opportunity, especially when in some scenes you can literally feel General Rex Strickland (Chiwetel Ejiofor) pointing out at you with an order, it isn’t all that much to hype up. Alien creatures and images of Knull (Andy Serkis) holding his blade in front of him pensively do tend to pop, but it’s not as immersive as I’d hoped for a movie where Tom Hardy throws a Croc at a hardened criminal.

3D Beyond The Window - 5/5

I was really impressed by the final Venom picture’s Beyond the Window work, and that’s mostly because it came from visual moments I didn’t expect to shine so brightly. One moment is part of the footage they showed at New York Comic-Con this year, in which the Venom Horse chase leads to a skirmish in a river between Eddie and the soldiers under General Strickland’s command.

Underwater-based imagery, as well as personnel being shown dangling in mid-air all exhibit the spacial reasoning and depth you’d want from the top shelf. Those same sorts of advantages are shown in the handful of scenes where Stephen Graham’s Patrick Mulligan is in captivity at Area 55.

In a room that looks more like a cramped Apple Store than a prison cell, there’s a lot of depth drawn with merely Graham and some light furnishings to break up the canvas. The entirety of Venom: The Last Dance lives up to this result, whether Eddie Brock is riding the open plains or he’s standing in front of a wall in a dark alley in Mexico.

3D Brightness Score - 3.5/5

It’s funny that in both Venom and Venom: Let There Be Carnage’s 3D variants, there’s a problem with brightness. I say this full well knowing that mileage may vary for you viewers out there, as theaters maintain their projectors to varying degrees of efficiency. But even without looking at the scores first, I can tell you that I have stark memories of both previous entries being dark!

While The Last Dance doesn’t offer a marked improvement on this factor, and with a half a point open to even this score out, I’m willing to give this movie the advantage over its older siblings. There’s still a bit of darkness present with the glasses in place, which is something I’ve noticed in each of the 3D/4DX screenings I’ve attended at this very same theater. But there are still some seriously crisp images at work; especially the first Venom 3 post-credits scene involving Knull himself.

3D Glasses Off Score - 5/5

Believe it or not, the 3D in Venom: The Last Dance stays turned on throughout the entire movie. From the studio logos to both teases included in the end credits, you’re going to get your money’s worth in this particular section. And with all of that third dimensional enhancement that’s on display, you’re going to want to slip your glasses off from time to time, which will reveal a healthy blurring effect on the picture.

This is where you’d normally see the level of manipulation that ensures only the best 3D thrills, and the Venom finale takes advantage of that field quite a bit throughout. You want wide shots that look like you’re seeing double? You’ve got ‘em. Up close sequences that use 2D anchor points to ensure characters and objects are projecting properly? That’s here too.

Special Venom-themed 3D classes? No, they don’t do those anymore. This isn’t 2012, despite what this movie’s use of Maroon 5 as an emotional button would suggest.

4DX Water Effects: 4/5

You will believe Eddie Brock cannot bartend, but you’ll also believe that you were there to experience it in Venom 3! The MVP sequence that most struck me with the 4DX water effects was the fact that I was lightly sprinkled when Venom tries to make Eddie a cocktail upon returning to their home dimension. It also made me want to try whatever that concoction was on screen, as I have to wonder if good old Mr. V is as heavy of a pour as I am when making friends drinks.

Otherwise, Venom: The Last Dance gives us some pretty solid, yet intermittent showers throughout. While we obviously can’t be submerged for the river chase, moments where Venom and his pursuers splash about in the water result in some minor waterworks. I also thought it was kind of wise not to turn the sprinklers on when certain acid showers were going off, as who wants to feel like they’re being melted alive? (Which offers a prime moment to remind you all that yes, Wicked: Part 1 will be in 3D/4DX!)

4DX Scent Effects: 1/5

It’s time to break out the obvious pun, folks: the scent effects in 4DX for Venom: The Last Dance absolutely stunk. It seriously felt like there were no additional scents pumped into the room. In fact, the only light scent note I thought I picked up on was a smokey charring that went off when we were first introduced to Knull in the cold open.

The absence was felt so hard, I had to question whether certain scenes with Eddie Brock included cologne notes or if that scent was thanks to the person in front of me wearing their own. To be fair, it unintentionally added more to this screening’s olfactory showmanship than the actual movie did, and the patron in question's cologne did smell pleasant. So thanks to the random audience member from my Venom 3 screening, it still felt like something was there.

4DX Light/Air/Smoke Effects: 3/5

Remember how I like to rail on 3D movies for their lack of proper brightness? 4DX may have its own perpetual thorn in my side, and it’s the light/air/smoke effects used to make up the entire package. We do get some flashes of strobe lighting with Juno Temple’s tragic lightning strike backstory, and there are some pieces here and there that get lit up as well.

But even in these limited uses, much like Transformers One’s 3D/4DX version, inconsistency reigns. Also, the air effects fare better than the smoke in the remaining run of aspects in this section’s criteria. While I’m starting to doubt that anything will match the scene where Alien: Romulus’ 4DX experience safely makes you feel like you’re in a rapidly decompressing airlock, feeling the wind in my hair during the ride of Venom Horse felt rather nice.

Last, but almost least, the smoke effects were not as prolific as I’d hoped. With plenty of opportunity to greatly enhance desert chases with a lot of sand, and a huge moment of fire based peril in the third act, those opportunities were either not taken or lost in the shuffle.

4DX Motion Effects: 4/5

I won’t go too deep on the motion effects of Venom: The Last Dance, as they’re as solid as I’d have expected. We’re a long way from the DBox era where people questions what exactly the seat movement was supposed to convey, and if you enjoy feeling like you’ve got a Symbiote poking out of your back, this is going to be a lot of fun for you to behold. And if you’ve seen the 2D version of this movie and wondered what purpose the A*Teens-backed dance scene between Venom and Mrs. Chen (Peggy Lu) had, it’s to give us a scene where we can actually feel Venom dancing.

Other than that prime segment, you get the obvious joy out of riding a Venom Horse, so that’s another thing to look forward to. However, there are some questionable movements included, like making us feel a camera pan around the Statue of Liberty. However, if 4DX was around in the days of pre-MCU blockbusters like Fantastic Four and Daredevil, you know that would have totally been present; so I can’t harp on it too much.

Overall Audience Health - 5/5

Are you worried about becoming nauseous during Venom: The Last Dance? Don’t be! The motion effects are hardly the roughest I’ve ever felt in a 4DX screening, with that crown still belonging to Twisters’ record breaking showing this summer. And the 3D, while still dimmer than I’d like it to be, is very much watchable; even in a prison made by a bunch of vengeful Symbiotes. It’s still advised you check out the official 4DX safety guidelines before taking younger audience members along for the ride, as they were written with everyone’s best interest in mind.

Final Verdict: 42/55

If you’re going to see Venom: The Last Dance, you need to go all the way and see it in 3D/4DX. But if you had to choose one format over the other, 3D would be the premium rush you should seek out thanks to its well-crafted spark of madness. If previous films in the format were allowed to carry over during bigger pictures’ waning weeks, I’d actually recommend seeking out The Wild Robot 3D/4DX adventure.

Alas, that’s not a thing that happens, and we’ll instead have to wait for the next thrill to come around in November. Which is already promising the arrivals of Red One and Gladiator II, along with Wicked: Part 1, in time for the holiday season. Though if anyone knows of any lingering shows of Joker: Folie á Deux and Smile 2 in 4DX, let me know. I’d love to keep sharpening my skills until the next time we meet, if only to distract me from the final bow of Venom’s cinematic history so far.

Greetings, To 3D or Not To 3D readers! This outing of your favorite premium cinematic experience has been enhanced thanks to a fictional sponsorship by Universal Dynamics - creators of Rozzum 7134. Though you would know her better as The Wild Robot, voiced by the one and only Lupita Nyong’o! In honor of that film’s 3D/4DX evaluation, it’s time to get a little bit high-tech!

So for this rundown, feel free to call me Miker 1117! That’s because my current task is to complete this evaluation on how DreamWorks Animation’s latest stacks up in the wilderness of premium effects. If you’re looking for our own Eric Eisenberg’s The Wild Robot review, that can be found elsewhere. For now, it’s time to boot up, and see just how wild the perils of Roz can get!

Overall Fit Score - 5/5

Both the 3D and 4DX fields couldn’t have picked a finer film to become attached to. As director Chris Sanders’ stunningly beautiful landscape has shown in The Wild Robot’s first trailer, the visual canvas is one of wide open adventure on a desolate wooded island. That alone makes perfect sense when applying 3D alone, as Sanders has had some experience with this form of premium exhibition, through his work on the How To Train Your Dragon franchise.

Thanks to How To Train Your Dragon: The Hidden World’s 3D experience, The Wild Robot is another movie upholding the DreamWorks tradition of animated thrills set to pop out at the audience. As for the 4DX experience, that’s something else the studio has had experience with, as this year’s release of Kung Fu Panda 4 had these atmospheric bells and whistles added.

Overall Planning & Effort - 4/5

As I mentioned before, DreamWorks Animation has quite a history of experience with both 3D and 4DX experiences. So the planning and effort on both ends of The Wild Robot’s premium execution is rather well rated. If there was going to be a winner crowned in this two-facet race, it’d have to be the 3D.

While the visual piece to this puzzle is planned and executed flawlessly, the 4DX side of things lacks some of the punch one would hope for. The resulting point deduction isn’t a significant loss though, as The Wild Robot still used 4DX to its advantage in rather spectacular ways, especially in the field of motion.

3D Before The Window - 5/5

As naturally as you could imagine The Wild Robot cast, including Ving Rhames as the voice of an owl named Thunderbolt, Roz’s lushly animated world knows how to throw things out at the audience. That wise flight instructor is a great example of nature projecting into the audience, as his pointed wing is one of the perfectly sold illusions in the third dimension.

Similar to what we saw in last week’s Transformers One 3D/4DX evaluation, there are definitely some robotic cannons and weapons pointed into the audience. At the same time, there’s more fun to be had with creatures lunging at the screen, and Roz’s detachable features also flinging through certain scenes.

3D Beyond The Window - 5/5

Depth can be used to really immerse the audience into a 3D presentation. On paper, The Wild Robot has a lot of potential, as it feels like it’s a picture built to deliver such an illusion throughout the entirety of the action presented. That’s due to a majority of the action takes place in nature, and another portion uses high flying life action to tell an emotional tale of Roz raising runt Brightbill (Boone Storme/Kit Connor).

I can safely say that after observing my 3D/4DX screening of The Wild Robot, the Beyond the Window factor is just as excellent as the Before the Window segment. Gorgeous flight scenes looking down on land and sea alike keep drawing the audience’s eye further into the visual canvas throughout the running time. But even in more intimate scenes, like the moment when Roz and Fink (Pedro Pascal) gather their friends in an enclosed dwelling, the ensuing fight never devolves into a confusing mess where characters can't be visually separated from their environment or each other.

3D Brightness Score - 3/5

For the second evaluation in a row, the brightness in 3D/4DX seems to be a bit dimmer than one would want or expect from something as colorful as this. That responsibility doesn’t solely fall on the shoulders of The Wild Robot’s 3D conversion team though, as the mileage will vary in this segment due to how well a theater maintains and calibrates its 3D projectors.

Seeing as this is the same location I saw Transformers One at last week, I think I may have to politely inquire with management about whether or not this is the case. But much like the origin story of the Autobots and Decepticons, The Wild Robot isn’t visually muddied to the point of being unwatchable. I’m sensing a pattern, and I’m hoping it can be corrected, as I rather like this location’s setup.

3D Glasses Off Score - 5/5

If you’re going to cry as much as I did during The Wild Robot, evaluating the Glasses Off score isn’t going to be a chore at all. Slipping off your 3D specs, you’ll notice that traditional blur that takes center stage when removing those special glasses. As the last singularly 3D aspect to grade in this evaluation, you can chalk up another perfect score in this section!

The blur is a nice, constantly shifting field of almost double vision for wide shots, with more 2D styled anchor points helping focus the eye on specific aspects. Now dry your eyes, as we’re about to get bumpy with the 4DX portion of the program.

4DX Water Effects: 4/5

There isn’t a constant deluge of sprinkler effects during The Wild Robot, which only sticks out in certain sequences throughout the picture’s running time. As the film opens with a rumbling storm of wind, rain and lightning, we’re not really hit with too much of that magic at the start.

Throughout the movie, the 4DX water effects do tend to be used to great effect, with light sprinkles coming from the stormier moments included. Also, this is the first premium spectacle I can think of that actually used the snow feature in the auditorium! It may have been limited, but it actually happened, so now I’ll have to pay attention to whether where you sit in the auditorium effects how much snow you get during the show.

4DX Scent Effects: 3/5

The type of scents used in The Wild Robot are limited to either floral or earthy notes spraying out at intermittent moments. Unfortunately, this is where the point deductions come into play, as there are several moments that could have used this feature to elevate things even more.

The Wild Robot contains moments like a running gag about being sprayed by a skunk, a huge battle in a futuristic orange grove and some seaside moments of reflection that could have been enhanced by this feature. I will say that when the scent canons are engaged, it does manage to boost the fun. I feel like there's a learning experience here, as I'd like to discover the true range of the 4DX scent spectrum for future evaluations.

4DX Light/Air/Smoke Effects: 3/5

Heading back to that opening storm scene, another surprising lack of effects I noticed was the absence of 4DX strobe lighting. Lightning is a perfect time to trigger those flashes, much like moments of Alien: Romulus’ 4DX experience had. Come to think of it, I don’t remember seeing any strobes going off, and there’s a whole scene where geese are being attacked by lasers.

Smoke didn’t play too much of a factor in The Wild Robot’s picture, but at the same time, the climactic forest fire set piece could have benefited from some more of that effect. Yes, folks, we do want that smoke. Last, but not least, air effects predictably work like a charm throughout DreamWorks Animation’s would-be blockbuster. You will believe a squirrel has just been beaned by an acorn thrown its way.

4DX Motion Effects: 5/5

The Wild Robot LOVES its motion effects, and it’s not afraid to show them off at any given moment in time. Not wasting any time, Roz’s initial sojourn through her island home puts us through our paces, as she imitates the gait of several animals in quick fashion. And for an adventure that includes a lot of flight training, you’ll definitely feel like you’re preparing for takeoff!

“Wild” doesn’t even cover the motions that you’re going to go through with this delightful romp in the woods, though it’s not as rough as Twisters’ 4DX experience. One final note of importance is the fact that The Wild Robot has leveled up my understanding of vibrational effects in the seats provided. The “imprinting” sequence between Roz and Brightbill is even more delightful when the sensors in your chair make it feel like you can sense the change coming over her.

Overall Audience Health - 5/5

For an adult moviegoer who can handle motion simulators, The Wild Robot is not going to cause you to vomit. The 3D side shouldn’t trigger any adverse reactions either, as the visuals are smooth and without any visual wonk. The only advisory I’d offer in this category is that if you’re bringing the kids to see this one, I’d check out Regal’s safety regulations as a good benchmark as to whether that’s a good idea or not.

Final Verdict: 47/55

Get ready to find your “Awoooooo” in The Wild Robot, as the 3D/4DX experience is quite the crowd pleaser. For us nitpickers, there are a couple things here and there that need addressing, but the audience at large is bound to consider this a well deserve upgrade from a standard theatrical presentation.

Having said that, I can now say I’ve officially completed my task of helping you decide which ticket you should by for The Wild Robot. I’m not sure if we’ll be evaluating Joker: Folie à Deux’s 4DX experience just yet, but if you’re feeling a particular need to see that happen, please let us know! Until next time, please feel free to rate the quality of your To 3D/4DX or Not To 3D/4DX evaluation experience. And remember, a Miker always completes his task!

It’s fitting that for Paramount’s Transformers One, I’m about to do something that’ll live up to one of the core tenets of Cybertronian life. Dear readers, all are about to become one, as we’re about to cross a To 3D or Not To 3D review with our new 4DX format to create what I like to call Premium Prime!

Before we blast off, the usual caveats apply. If you want to know what we thought of the movie as a purely cinematic experience, you should definitely check out the critical reactions to Transformers One. But if you want to know if the 3D and 4DX experience are worth the extra Energon, you’ve come to the right place.

Now let’s roll out and talk about what these premium bells and whistles have to offer for the overall experience. Especially because we can now officially hype Transformers' return to animated cinematic adventure!

Overall Fit Score - 5/5

Since we’re talking about two different format components for this Transformers One screening, we’re going to have to get a bit more granular with the grading. So basically, both the 3D and 4DX fits will be evaluated individually, and then averaged together to make the Overall Fit Score. Don’t worry, it’s not too complicated this time out, as the journey that transforms Orion Pax (Chris Hemsworth) into Optimus Prime aces both halves of the coin.

It’s easy to give this sequel a 3D stamp of approval, as the Transformers movies have format history spanning all the way back to Dark of the Moon. With plenty of robot carnage, assorted weaponry and beautifully immersive backgrounds all in the mix, this format/franchise pairing continues to win.

As for the 4DX format, there’s a lot to be gained from seeing Transformers One in this style of exhibition. Especially because, thanks to certain effects present in the pre-requisite transformation sequences helping you actually feel like a Transformer yourself. Though that probably comes from 4DX being part of the premium franchise package since Transformers: Age of Extinction!

Overall Planning & Effort - 4/5

Much like we saw with the Overall Fit Score, the Overall Planning & Effort Score will also be an average of the two sides of this upcharge experience house. Just as 2023 brought us Transformers: Rise of the Beasts’ magnificent 3D presentation, Transformers One continues to uphold that tradition of excellence - which is another feather in Stereo Conversion house SDFX Studios’ cap.

But both the 3D and 4DX enhancements have certain drawbacks that keep either side from being a perfect home run. That comes from some surprising decisions on where to include and exclude certain effects in this combined package that still packs enough thrill to elevate the movie it happens to accompany.

3D Before The Window - 4/5

While I don’t expect the entirety of a picture like Transformers One to keep throwing objects and characters in my face, there’s still an obvious standard for prime Before The Window effect action. In my opinion, this component isn’t used to its fullest potential, but the moments that it does come up are pretty spectacular.

Mimicking the live-action piece of this saga, a lot of action involving weapons, catastrophic accidents, and debris flying out at the audience do fly out from time to time. One devastating scene involving Sentinel Prime (Jon Hamm) really drives this point home, as the audience gets a front row seat for the action.

3D Beyond The Window - 4/5

Though there isn’t exactly a feeling of limitless picture depth in the Beyond the Window portion of Transformers One, the end result does manage to blur the lines between the viewer and the film. A lot of the action on the surface of Cybertron, and the ensuing battle/race sequences that take place in Iacon City, best showcase this cog at work in the overall machinery.

3D Brightness Score - 3/5

No matter what type of 3D you’re choosing to engage in, the relative brightness of the equipment used by your theater of choice is always a variable to consider when purchasing your tickets. Unfortunately for the vividly colored worlds that make up Transformers One’s Cybertron, the dimming of the picture during the screening observed went a bit beyond the added grayness of slipping on those 3D glasses.

Taking into account how most of this adventure takes place in the well lit Iacon City, this factor doesn’t crash the entire enterprise. However, you're definitely going to notice the lack of brightness from time to time, which holds things back to a significant degree.

3D Glasses Off Score - 5/5

You’re still going to want to slip your glasses off when watching a 3D movie in 4DX, even though there may be some points where the motion makes you feel like they’ve got a mind of their own. (Which goes doubly for those of you who wear prescription glasses underneath.)

Doing so helps you check out the blur of a film such as Transformers One, and in engaging with that behavior, you can see that the blur is very rich throughout this movie’s canvas. Even scenes with close up action that would normally rely on more static 2D anchor points carry quite a bit of the blur that’s supposed to help ensure the 3D manipulation is being successfully executed.

4DX Water Effects: 3/5

Maybe it’s because I’m still feeling out the 4DX format, but I was actually surprised that we have a handful of Transformers One scenes involving robot spit. Having a scene where D-16 / Megatron (Brian Tyree Henry) gets socked in the face, only to sprinkle the audience as a result, was quite the surprise. There aren’t a lot of moisture related events in this narrative, but there are enough to really want a revised version that employs the effect a little more consistently.

4DX Scent Effects: 2/5

Anybody who’s read my Alien: Romulus 4DX review will remember that I was actually quite impressed with how well Fede Álvarez’s house of horrors opened my nose to the usage of the scent effects portion of this format. That newfound appreciation has made me more aware of that specific effect, and it’s an area of focus I’ve taken up in my education of the 4DX format.

With that in mind, the smells presented in Transformers One are not particularly varied, and I only really noticed the floral/earthy notes used in some of the jungle based scenes. So there's definitely something to speak of in this arena, but it's not particularly consistent.

4DX Light/Air/Smoke Effects: 4/5

Light, air and smoke effects may seem like minor touches, but they really can kick up the wow factor of a 4DX presentation. Transformers One makes quite a bit of Energon out of using these combined forces, with the fan enhancements being the most noticeable.

You actually feel like you’re flying through the air whenever a Transformer is falling or soaring through the skies, with the air cannons mounted in your headrest going off whenever there’s scenes of intense laser fire. A point is docked from this feature though, as the strobe light effects in a crucial scene in the finale seemed a bit off, and there’s only one scene involving any smoke.

4DX Motion Effects: 5/5

In terms of the 4DX realm, we truly have saved the best for last. Motion effects are possibly the most noticeable component of this entire premium experience, and Transformers One takes any and every opportunity to move your seats from their upright position. If you’ve ever wondered what getting into a train crash on the surface of Cybertron would feel like, you’re gonna learn the fun way!

More importantly, the seat vibration effects lock into place some key touches that actually made me feel like a Transformer! Whether it’s the main group getting their Cogs, or the very first transforming sequence, the motion fits the visual and sonic components to a tee. Seriously, they got the seat vibration to match the noise in a way that you might think you’re about to roll out yourself.

Overall Audience Health - 5/5

I won’t go too long on the Overall Audience Health, which as you’d guess is another average between the 3D and 4DX halves. Just know that there are no worries about nausea or discomfort with this Transformers One thrill ride. Though I will advise that you’ll want to consider the size of any potential children you’ll be taking to the show, as some of the rougher sequences might concern either them, or you, about potentially being thrown off the seat.

As always, you’ll want to read over the safety guidelines for the 4DX experience, as they’re there for a reason. Think of it as a theme park ride at a theater near you, just without seatbelts.

Final Verdict: 44/55

I think it’s safe to say that my first ride in 3D/4DX was a success. While Transformers One has its flaws, there’s no game breaking factors that make this unworthy of the Matrix of Premium Ticket Pricing. But then again, you don’t need to take my word for it! When CinemaBlend’s own Jeff McCobb sat down with the cast of the film, he was able to get the following enthusiasm out of Megatron himself, Brian Tyree Henry:

Whether you support the Decepticons or Autobots in this skirmish, you can’t deny that sort of excitement! And I’m right there with Mr. Henry, as while I was kind of worried that 3D and 4DX wouldn’t mix well, this screening put my worries at ease.

Which is good, as the 2024 movie schedule’s next 3D/4DX combo offering is DreamWorks Animation’s The Wild Robot. If we happen to cover that excitement, we’ll finally see how tears effect the overall result. But for now, it’s time for me, Premium Prime, to bid you all farewell and good hunting in the fight for the perfect premium experience!

Oh hi there. I’m sure you’re wondering why this To 3D or Not To 3D is coming days after Deadpool & Wolverine has already opened in theaters? Well, when a critic and a movie love each other very much, but some work trips and scheduling surprises force you to rebuy your tickets to the hottest title of the summer two times over…life happens.

Fear not though! This is the first and only MCU romp of the 2024 movie schedule, so we’re still gonna go to work in the third dimension. (Did you really think we were going to skip Marvel's only 3D movie at the theater this year? That's like resurrecting a beloved MCU cast member as a mega villain! You need a really good reason to do it.)

If you’re wondering how this flick plays out as a cinematic experience, our own Avenger Eric Eisenberg has the Deadpool & Wolverine review for you to check out. But if you’re ready to see if Ryan Reynolds and Hugh Jackman’s ripped physiques are worth some extra 3D ticket money, then by Marvel, you’re in luck. Let’s close this door we’ve opened in the fourth wall for the time being and check out the IMAX 3D presentation of Deadpool 3!

Fit Score - 4/5

Now this is a rather interesting scenario when it comes to the pedigree of 3D moviemaking attached to Deadpool & Wolverine. We know that comic book movies are going to more than likely be in both IMAX and 3D formats when they’re released, because that’s pretty much the standard. But as far as our heroes are concerned, they’ve rarely (if ever) broken the third dimensional wall.

Neither of the Deadpool movies were released in 3D, and Logan hasn’t popped his claws out at us in that way since 2013’s The Wolverine. If anything, the strongest component of this film’s eye-popping lineage, it’s the involvement of director Shawn Levy. Looking back at the results of Free Guy’s 3D presentation, that’s still a pretty solid source of hype to kick things off with. But let's get technical, and see if it holds up.

Planning & Effort - 3/5

Having Free Guy as a point of comparison is also a bit of a drawback when it comes to Deadpool & Wolverine, as the effort put into this premium experience falls a bit shy of that movie’s spectacular bells and whistles. Up at bat on conversion is the MCU’s traditional partner SDFX Studios, once again with some “additional 3D conversion” done by Seecubic.

As we saw with the last Marvel Studios film released in theaters, the similarly 3D-enhanced The Marvels, there was a bit of a mixed bag at work with the results shown on screen. The latest Deadpool movie is a similarly jumbled effort, as there are some spaces where the results are laugh out loud fantastic, and some where it’s merely solid. But to their credit, it’s never boring or unwatchable; it’s just that the movie opens with some super strong visual tricks that make it difficult to go back to a more traditional 3D effort.

Before the Window - 3/5

I’m not trying to spoil Deadpool & Wolverine for you, but you’ve probably heard about how the movie opens at this point. But just in case you haven’t, I’m going to warn you, we’re going to talk about it here. So just know that the Before the Window factor of items popping out/being thrown out at the audience is well crafted, if not nearly used enough. That said, mild spoilers for the opening are ahead, so feel free to jump to the next section if you want to avoid.

Still here? Great, because Dancepool’s (Nick Pauley) tangle with the TVA agents trying to apprehend him in the beginning is exactly how I wanted Deadpool 3 to play throughout its entire 3D run. Opening credits are scattered through the screen, bones, blood, and body parts are flying out at us in the audience, and if there’s a superhero landing in the world of third dimensional enhancements, it’s effects that break the frames that letterbox the film.

The only other movie I can think of that’s used this effect is the loving 3D boost to Paul Feig’s Ghostbusters reboot, and more IMAX 3D presentations should totally throw this into the mix. But after the flashy Deadpool & Wolverine opening, we only get some weapons and objects flying out of the screen every now and then. And except for the sidescrolling third act fight between Deadpool, Wolverine, and… a whole army of spoilers, we don’t really see many more frame breakers throughout.

Beyond the Window - 4/5

The depths to Deadpool & Wolverine’s Beyond the Window effect are, sadly, never quite as limitless as one would expect. And while I throw that in as a caveat, I can totally see why it wasn’t exactly a priority when it came to crafting the 3D thrills on hand. For as action-packed as this adventure can be, the Deadpool threequel is a more intimate affair than most timeline hopping adventures.

With that quibble out of the way, the usual staples in the Beyond the Window factor are very much present. Spatial reasoning between characters, objects and environments is drawn quite expertly, not to mention there’s moments of Hugh Jackman’s abs (and yes, Ryan Reynolds’ prominently costumed ass) that allow the audience to feast their eyes, with only a pair of 3D glasses to prevent their eyes from falling out.

Brightness Score - 3/5

Oh friends… brightness, or its absence, is truly the enemy of 3D reviews, and this can even happen while watching the usually superior IMAX 3D presentation of a movie such as Deadpool & Wolverine. Despite having the power and scope of this large format and its equipment at its disposal, the picture quality is a bit mid in this segment in particular.

Of course, your mileage will always vary with the Brightness factor, as part of this handshake is how well the location maintains its equipment. But in all fairness, this is the same theater I saw Godzilla x Kong: The New Empire’s 3D throwdown at, which was a presentation that only slightly dimmed once you put your glasses on.

Whereas during Deadpool & Wolverine there was a significant dimness that didn’t make the movie unwatchable, it just left the picture a bit muddy in places. The nighttime campfire scene between Logan and Laura (Dafne Keen) still packs an emotional punch, but it's the prime example of the criticism expressed above.

Glasses Off Score - 4/5

If you’re going to check the Brightness, then you’re naturally going to want to check the blur of the picture in your 3D showing of choice. Slipping off your glasses is like Deadpool and an adorable animal sidekick: it’s not just irresistible, it’s a natural instinct. On first blush, the usual 2D anchor beings and 3D blur seemed to be included, as per usual.

However, the actual level of blur was a bit lesser when compared to other movies I’ve seen in this format. Not by much, but again it’s probably due to the more personal nature of a lot of Deadpool & Wolverine’s scenes. 2D anchor points tend to dominate when it comes to keeping a character like Matthew Macfadyen’s Mr. Paradox in frame throughout extended swaths of expository dialogue and threat. You’ll still get quite the blur show with this movie, and that does include your usual wide shots where you’re practically seeing double.

Audience Health - 4/5

For all of the nitpicks I have with Deadpool & Wolverine’s 3D showdown, it’s still a movie you can watch in 3D without having to worry about eye fatigue or nausea. While we feel quite far removed from the days of people wanting to throw up during chaotic action presented in this format, not even the more common eye strain that comes from the darkest of visual moments in this picture will make you ill at ease.

At the same time, you'll definitely notice the moments where it's too dark for its own good, and that does take away from the format's charms in Deadpool 3. You won't have a hard time watching this picture show in 3D, but there are still some bumps along the road so to speak.

Final Verdict: 25/35

Deadpool & Wolverine’s 3D adventure is a solid base hit in terms of using premium formatted flash to its advantage. It has its flaws, which make it far from a required experience, but it’s definitely worth fanatics of the third dimension venturing out at their convenience. In fact, this is one of the more readily available IMAX 3D experiences, as my local venue had two showings instead of the traditional single option.

Alas, with that verdict in hand and the fourth wall removed once more, it’s time to say bye bye bye to this latest round of To 3D or Not To 3D. Fear not though, if my calculations are correct, we’ll all be gathered together again in September to see if Transformers One is more than meets the eye when you slip on those glasses. Unless, of course, there’s a secret 3D offering or two waiting in August to take our breath away.

I’m just saying, Disney, if you want to spring a 3D Alien: Romulus option on us all out of nowhere, now is the time to do it. Until next time, please remember to recycle your glasses, and always give life your maximum effort. This is Mikepool, signing off.

Dear friends, readers and animation enthusiasts, it’s time for us to get Despicable all over again. With the release of Universal/Illumination’s Despicable Me 4, a new chapter in the Gru family saga has begun to unfold. Surely you’re asking yourselves whether or not Gru jr. will ever love his father, but there’s another question that’s pretty important to ponder: To 3D or Not To 3D?

If you want to know about how this movie plays as a standard cinematic experience, then our own Dirk Libbey’s Despicable Me 4 review is just where you want to go. But if you want to determine whether those Mega Minions are worth the extra 3D ticket money, then slip on your glasses and let’s start the show!

Fit Score - 5/5

In all honesty, I haven’t been a fan of this franchise since Despicable Me 2. But with the most recent entries like Minions: The Rise of Gru’s 3D presentation, and now Despicable Me 4, there’s one huge bright spot to sitting down to these movies: they are being built to maximize 3D thrills. In fact, by the numbers in the third dimension, this is a pretty stand-up film.

There’s no question about the pedigree that Illumination Entertainment has had with crafting their pictures, even the non-Despicable ones, into 3D products. This entry isn’t going to make you reconsider that any further. However, you should be asking yourself a very important query: does Despicable Me 4 take the red and blue crown from the current champ, Despicable Me 2?

Planning & Effort - 5/5

It’s incredibly easy, but also deceptively difficult when creating a picture like Despicable Me 4 in a whole cloth digital studio. Ideally, this gives CGI animated movies a much needed advantage, as the images can be manipulated at the source to create 3D magic. In terms of this return to the shenanigans of the Anti-Villain League and the Minions, that advantage is used to the fullest extent.

Despicable Me 4 feels like it was built with 3D in mind, from the ground up. Which is fantastic, considering Minions; The Rise of Gru had a good start, but failed to stick the landing. If the folks at Illumination happen to be reading this, I must tip my cockroach ray to you for a job well done.

Before The Window - 5/5

I should have known to go into this movie with a pretty important question of my own: how will the Mega Minions from that recent Despicable Me 4 trailer look in 3D? Well, the answer to that question plays out most specifically in the Before the Window evaluation of director Chris Renaud’s summer family blockbuster. In case you were wondering, the Mega Minions steal the 3D show.

With their, shall we say, Marvel-ous abilities, Despicable Me 4’s featured yellow cohorts use their powers to truly pop out of the screen. That’s not the end of the game though, as there are tons of little touches that also break through the screen and into the audience's face. A lot of pointing and gesturing by characters towards the camera helps bolster this feature, in addition to several scenes where someone is running right at the camera.

Beyond The Window - 5/5

Turning our projected gaze inward, the Beyond the Window factor also finds itself tended to rather nicely. The traditional factor of spatial reasoning between characters and their environments is the highlight of Despicable Me 4’s efforts to go beyond the screen. You might even just find yourself getting lost in the detail drawn by that factor, especially when it comes to the fast-paced action sequences.

Quieter moments will allow the observant viewer to enjoy these efforts as well, as Despicable Me 4 never stops doing something interesting with the picture in view. Opening with a high speed mountain drive, and ending with a sing-along most ‘80s babies are going to delight in, the visual canvas does not go to waste for a second.

Brightness Score - 4/5

No matter if you’re watching a colorful computer animated product like Despicable Me 4, or if you’re heading to the theater for a CG/live-action hybrid like Godzilla x Kong’s 3D presentation, Brightness is the enemy! In fact, I’d even go as far as stating that this is the most potentially damaging factor of any 3D conversion, as you kind of have to be able to see what you’re watching in order to truly enjoy (or judge) it.

When putting your glasses on during this sort of premium presentation, the screen automatically tends to automatically take a hit and get a little dimmer. As always, your mileage will vary thanks to this factor depending on your theater of choice to properly maintain its rig. In the case of this Despicable Me 4 screening observed to evaluate its 3D skills, there was only a slight dimming of the picture when slipping on the glasses.

Glasses Off Score - 5/5

Speaking of those 3D glasses you’re using to properly enjoy Despicable Me 4, you’ll obviously notice that once you take them off, the picture returns to its blurry form. When observing a 3D picture in its natural state, the usual ground rule to follow is that the more an image is observed, the better it should be to observe in its unified “glasses on” state.

Despicable Me 4 definitely shows off some fantastic work when it comes to its blurring. The usual 2D anchor points stand out in sharp contrast to the rest of the background being manipulated into a 3D illusion. Wwide shots tend to show off a pretty fantastic degree of blur in moments when 2D elements aren’t necessarily required.

Audience Health - 5/5

There’s a lot of manic movement and action packed into Despicable Me 4’s 94-minute runtime. If this sort of exuberance isn’t transferred into a 3D image properly, this can be a recipe for disaster that has been known to cause nausea in the past. Those worries seem to be far and few in-between in the modern age of 3D, and you’re not going to lose your lunch with this flick.

Even with a sequence that flies through an AVL office full of black-suited Minions causing havoc and scattering paperwork, the motion is pretty fluid and achieves the desired effect. Thanks to the Brightness only being slightly dimmed with your 3D glasses, Despicable Me 4 isn’t going to strain your eyes to the point of feeling tired and impatient.

Final Verdict: 34/35

So does Despicable Me 2’s 3D score record for the franchise stand, or has Despicable Me 4 overtaken it? Well, Gru and company have indeed set the bar even higher, outranking the second installment’s 32/35 score from its contemporary release. Unfortunately, even with an IMAX release strategy in play, there seems to be no showings in that platform’s 3D format available. That's a shame, because an IMAX 3D version of this movie could shine as the best of both worlds.

Alas, if you’re seeing Despicable Me 4, you’re either loyal to this franchise or you’ve got family members who are. In either of those cases, if you’re going to see this movie in theaters, you can at least count on the fact that the 3D picture provides enough thrills to keep even the most jaded audience member somewhat invested.

With that, another chapter in To 3D or Not To 3D history has been written! And I’ll admit, this installment proved me to be a liar, as I’d thought Deadpool and Wolverine would be the next time we’d reunite as friends. With Despicable Me 4 out of the way, and barring any further surprises ahead, the next To 3D evaluation should be the return of the MCU. So if you’ll excuse me, I’m off to polish my claws and practice my best cold shower shouts of rage.

Disney fans, animation fans and 3D fans, it’s time to engage those core memories and remember a time when movies were shown on our screens in the third dimension. As Inside Out 2 heads into theaters, it’s time to start asking questions, like can the magic of Riley’s previous adventure into emotion can be captured by a sequel?

While we’re at it, it’s time to approach the query you could have seen coming a mile away: To 3D or Not To 3D? If you’re curious about how Disney/Pixar’s latest fares as a film, you should read Sarah El-Mahmoud’s official Inside Out 2 review.

But if you’re curious as to whether you should spend that extra 3D money on your ticket or on a new mouthguard for hockey practice, this is the place to be. So let’s get started and take a peek into the 3D of this animated sequel!

Fit Score - 5/5

I have to say, looking back at Inside Out’s To 3D score, the pedigree of the movie’s third dimensional enhancement serves this picture’s purposes rather well. In fact, the story for this sequel, which sees Riley (Kensington Tallman) heading to hockey camp, actually gives the filmmakers a good reason to revisit the premium format magic exhibited in the previous movie.

WIth the market seeing franchises that have engaged in healthy 3D pedigrees in the past eschewing the format altogether, Inside Out 2 is a good example of a series sticking with it, and for good reason, especially when the resulting product is a vast improvement from its predecessor.

Planning & Effort - 4/5

Reviewing my thoughts on the 3D version of Inside Out, I noticed that there were several factors that seemed to take a huge hit in the process. One of the lowest rates factors was indeed Planning & Effort, which absolutely should be a slam dunk when it comes to computer animated projects.

I can definitely say that Inside Out 2 works better in this respect than its predecessor, but even with that in mind, there are some fields that could have been better utilized. This much is especially true when thinking back to the 3D presentation of last year’s The Super Mario Bros. Movie, an Illumination picture that somewhat proves that Pixar’s hold on the field of CGI animation is being challenged quite readily as of late.

Before the Window - 3/5

There’s a moment in Inside Out 2 where a hockey puck is dropped towards the audience’s point of view that shows how the Before the Window factor best works in Disney/Pixar’s latest. We see that effect used a couple of times in the film, and it’s in that moment, and a scattered handful of similarly exciting scenes, that the viewer feels like something is breaking through the window and heading out towards them.

It’s another improvement over Inside Out’s 3D presentation, but even then one can’t help but wish they’d done more to project objects out of the screen. A “brainstorm” sequence is also another showcase for pelting the crowd with flying objects that made me wish this segment was better implemented throughout the movie, and also stands as another visually impressive moment in a mostly ok product.

Beyond the Window - 5/5

The backdrops of Inside Out 2 are definitely worth paying attention to, as the Beyond the Window factor is well served throughout the visual landscape of this second round of Riley. Whether it’s Riley’s cranial command center of emotions, the wider landscape of her mind or even the physical realm of hockey practice, there’s quite a vast field of depth on display at any given moment.

Spatial reasoning is king in this segment, and Inside Out 2 definitely keeps this in mind as it keeps characters crisply separated from their surroundings and each other. During a key breakdown that Joy (Amy Poehler) suffers at an integral point in the narrative, the Before and Beyond fields sparkle together, from projecting the character out into the audience to showing her get a bit smaller and more removed through curling up into a ball.

Brightness Score - 4/5

Brightness is surprisingly not a problem that was presented during the 3D presentation observed for this evaluation. That’s important to denote, as when you see a movie like Inside Out 2, the quality will vary due to various theaters maintaining their equipment to varied degrees.

In the conventional 3D version I attended, there was only a slight dimming while wearing the glasses required for the illusion to properly work. It was another huge step forward from my experience with the original Inside Out, and thankfully not a repeat of that time I experienced technical difficulties during Lightyear’s mostly stellar 3D showing.

Glasses Off Score - 4/5

When testing the brightness of a 3D movie’s picture quality, it’s easy to measure another key standard: the “Glasses Off” factor. Measuring the blur of picture that’s presented to properly achieve the illusion of three dimensional imagery, it also feeds the natural instinct to slip your glasses off during a movie’s running time, if only to give your eyes a break.

Inside Out 2 has the usual suspects in blur measurement present. Shifting 2D anchor points allow the audience to move its eyes to the most visually important factors in any given scene. Meanwhile, the majority of the blur does tend to be presented in the background; with softer focus on the elements that are front and center. Considering how the quality of this product’s Beyond and Before the Screen factors varies, this tracks.

Audience Health - 5/5

Whether it’s a good or bad 3D movie, the last thing any audience wants or needs is any sort of wonkiness that hurts the eyes or causes any sort of discomfort. Over the extended history of modern 3D, it’s amazing to recall the time when movies like Clash of the Titans’ 3D variant could give audiences a sense of nausea.

You’re not going to run into any problems of that sort with Inside Out 2, unless, of course, you’re super sensitive to the 3D effect. It’s a smooth sailing experience that doesn’t strain the eyes, nor does it make you feel as if you’re going to lose your taste for popcorn in the process.

Final Verdict: 30/35

I wouldn’t go as far as saying that Inside Out 2 needs a viewing in 3D, but then again, I’m not exactly one of the biggest fans of the movie in general. That said, you won’t be wasting your money, as it’s a solid experience that does have its moments of crowd pleasing.

Though I will admit, I was disappointed that a film with an IMAX roll-out failed to have the ever increasingly rare IMAX 3D variant on offer. Thankfully, that isn’t the case with Deadpool & Wolverine, and you can bet I already have my opening day tickets for the first screening in large format 3D already booked.

With that knowledge firmly in hand, it’s time that we close down the To 3D or Not To 3D command center, as Inside Out 2 has been thoroughly evaluated down to the last memory. Until next time, remember to recycle your glasses and take it easy on yourself in this ever anxiety-filled world.

Dear readers, it is time to rumble yet again. The MonsterVerse is back in play, and both Kong and Godzilla are back to take the fight to any Titans who stand in their way. So since we’re already celebrating the release of director Adam Wingard’s Godzilla x Kong: The New Empire, let’s throw another burning question onto the pile: To 3D or Not To 3D?

If you’re wondering whether or not this cinematic juice is worth the squeeze, you should check out our Godzilla x Kong: The New Empire review. But if you want to discuss whether this MonsterVerse entry is worth the extra ticket money, or if you’re better off crowdfunding a cat bed that looks like the Colosseum in Rome, this is the place. 

Without further delay, and with a generous sponsorship from Gargantua Insurance, let’s discuss whether or not to go 3D with Godzilla x Kong!

Fit Score - 5/5

In terms of pedigree, the entire MonsterVerse saga has seen its cinematic efforts presented in conversions of varying 3D quality. No matter where an individual entry has ranked in the past, the franchise has always been home in the third dimension. However, it just so happens that director Adam Wingard has made the most 3D-friendly entries of the saga, with Godzilla x Kong: The New Empire proving that point yet again. 

Looking back at our evaluation for Godzilla vs. Kong’s 3D presentation, the quality highlighted in that previous writeup was very much still present with the latest chapter of this ongoing saga. And as you’ll see throughout the rest of Godzilla x Kong’s case study, Wingard and company’s magic shine yet again.

Planning & Effort - 5/5

It does not take long at all for Godzilla x Kong: The New Empire to prove why my choice of an IMAX 3D screening was the only way to fly. Showtimes for this format have become increasingly rare, so I’ve tried to make a special effort to seek that format out when able. Much like the time I covered Transformers: Rise of the Beasts’ 3D variant, I felt the need to catch this Titan-sized throwdown that claims it’s “filmed for IMAX.”

That claim is absolutely true thanks to several sequences going full ratio throughout Godzilla x Kong. The 3D quality sparkles even more when you have an entire large format screen to gaze upon. IMAX’s care for Godzilla x Kong’s picture quality is even more apparent when watching the stereo conversion efforts of DNEG displayed through that proprietary format. I’m still convinced that 3D plays way better on an IMAX screen, and once again the MonsterVerse seems to have proven me right.

Before The Window - 5/5

Friends, have you ever wanted to see Godzilla stomp an enemy Titan so hard their blood explodes towards the screen? How about Kong seeming to reach out to the audience, as if he could actually touch us? All of that, and much more, is available when you check out the Before the Window thrills offered in Godzilla x Kong. Having screened the film in IMAX 2D before seeing it again in that format’s 3D presentation, there were moments I could call out as potential pieces that were rich in 3D-NA.

So I’m not that surprised that when Kong sends a pack of vicious monsters falling towards camera in 2D, that scene was given the right amount of love in 3D. Nor was I shocked when I thought Godzilla was going to smash his foot into the audience during the big showdown in Cairo. Though if I had to pick a scene that bridged the kingdoms of Before and Beyond the Window perfectly, it’d have to be the zero-gravity fight!

Beyond The Window - 5/5

As far as Before the Window thrills go, seeing rocks and various Titans in battle floating around a new section of the Hollow Earth realm make for beautiful window smashing results. Going hand in hand with those thrills is the limitless depth that’s drawn in huge, spectacle laden set-pieces that take place in those worlds Beyond the Window. The key factor of spatial reasoning is also expertly manipulated thanks to characters having a healthy amount of distance from their environments, as well as each other. 

A key scene that shows Rebecca Hall, Dan Stevens and Kaylee Hottle lined up in front of a mysterious doorway shows off that simple, but effective victory in this factor of Godzilla x Kong’s 3D extravaganza. Also, if you’re looking for a particular “splash panel” moment that really soaks in this sort of thrill, the emergence of “Pink Godzilla” is the moment you’re going to want to be present for. 

Brightness Score - 4/5

In terms of the MonsterVerse in 3D, Godzilla: King of the Monsters’ To 3D score is still the lowest in the bunch. A good portion of the points lost came from the arch-nemesis of all 3D fans: the Brightness factor. Depending on how your venue of choice maintains their projectors, this is an easy spot to lose ground, as calibrating between 2D and 3D screenings is key for ideal presentation.

Yet again, IMAX comes through in the clutch here, as the Laser IMAX projection system I saw this film presented with was crisp and clear. There was some slight dimming with the glasses on, but nothing near as dim as past MonsterVerse films. Don’t worry, Dan Stevens’ fruit punch red Hawaiian shirt, and the rest of Hollow Earth’s colorful landscape, are still beautifully presented. 

Glasses Off Score - 5/5

When taking your glasses off during a 3D movie, blur is the word when it comes to what you’re going to want to see while watching Godzilla x Kong: The New Empire. Conventionally, the more blur that’s present in the image, the more manipulation there is to create a three-dimensional appearance. Not only is there tons of blur with this Titan-centric showdown, but a new lesson can be learned by you fellow 3D fanatics.

Pay close attention to the differences between scenes with living breathing humans and those with full CGI creatures and environments. With human subjects on the screen, you get more 2D anchor points that help draw a greater visual contrast in the finished product. 

Meanwhile, in full CG scenes, the blur is much more present all around; more than likely due to the fact that we’re observing aspects that can more easily be adapted to cutting edge 3D. You wouldn’t notice the difference unless your glasses were off, but it’s something fun to note.  

Audience Health - 4/5

If it wasn’t for one singular shot at the beginning of Godzilla x Kong: The New Empire, the Audience Health score would have been perfect. But alas, the price for a really cool shot of rotating perspective in Hollow Earth is a moment where the audience may feel just a bit uncomfortable. In no way is it a system crasher, but it’s enough of a moment that I had to note it. 

Other than that simple segment, the rest of Godzilla x Kong is audience-friendly and easy on the eyes. Tthat’s through a lot of very dynamic cinematography that chooses some pretty fantastic angles to cover its subjects with. Seriously, the fight scenes between the Titans are intensely kinetic and exciting, and it doesn’t strain your eyes in the process.

Final Verdict - 33/35

Godzilla x Kong: The New Empire is another smashing effort that needs to be seen in IMAX 3D. Movies like this make me truly sad that the company has distanced itself from the format, as this is my preferred option for third-dimensional thrills. I have a feeling that standard 3D would be similarly impressive, but in my opinion, this is the full on experience kaiju movie fans need to treat themselves to. 

If you’re going to see Godzilla x Kong, do it right: see it in IMAX 3D and let the sensory overload wash over you lovingly like I did. Needle drops are sweeter, punches are more brutal and the beauty of certain moments is even grander in this format. 

I think I’ve made my case for this film’s 3D adventure, so with that I’ll take my leave! I’m not sure when we’ll meet again here in the To 3D or Not To 3D labs, so until next time remember… Godzilla may not care about your 3D experience enjoyment, but Gargantua Insurance does. 

Greetings dear readers, and welcome to what is almost assuredly the final To 3D or Not To 3D of the year. Unless someone out there is really dying to hear my thoughts on Migration’s 3D conversion, and management asks for a special end of year favor.We’re also here to discuss another ending of sorts, as Aquaman and the Lost Kingdom is also the end of the DCEU era of films.

Which, in turn, leads us to the question that we’re gathered here to answer. So if you really want to know how this picture plays out as a cinematic experience, you’ll want to head over to Eric Eisenberg’s Aquaman 2 review. However, if you’re ready to see if Jason Momoa’s swan song is worth the extra 3D ticket money, or if you’re better off investing in a medium rare burger and a cold beer, you’re in the right place. 

FIT SCORE - 5/5

On paper, Aquaman and the Lost Kingdom is a movie that’s grandfathered into the 3D realm. Seeing as James Wan’s 2018 DC origin story was also presented in this very format, Aquaman’s 3D variant made bringing this sequel into the fold all the easier. Even if we’re in a market where having a killer conversion the first time around doesn’t guarantee getting one in subsequent sequels. (I’m looking at you Spider-Man: Across the Spider-Verse.)

Thankfully, this big seafaring sequel was brought back for another round of third dimensional thrills. Which, to be honest, already looked like a proper fit for the format when watching Aquaman and the Lost Kingdom’s first trailer. That striking overhead shot of Black Manta (Yayha-Abdul Mateen II) opening those huge doors was all I needed to convince me it was 3D-worthy, and I’m glad Warner Bros. made the decision to embrace the format once more.

PLANNING & EFFORT - 4/5

There’s honestly only one field I have a problem with when it comes to Aquaman 2’s 3D conversion, and if you guessed the Brightness, you’re absolutely correct. So while the Planning and Effort score for this movie does get a slight ding because of that fact, I can’t dock this score too hard. The reason being that every other aspect of this movie’s conversion is quite spectacular to behold. 

SDFX Studios (formerly known as Stereo-D) are the folks behind this effort, and the same love and care that was shown in their conversion of Guardians of the Galaxy Vol. 3’s 3D is present once again. Honestly, if it wasn’t for the Brightness factor, this could have been a perfect score; but we’ll discuss that later. 

For now, I have to commend this delightful use of the format, as it feels like James Wan and his crew plotted out the 3D thrills from square one, and knew how to execute them. So let’s get to some specific examples of why I’m so hyped on Aquaman and the Lost Kingdom’s premium third-dimensional formatting, despite my constant nemesis rearing its ugly head yet again.

BEFORE THE WINDOW - 5/5

If you notice something particularly impressive literally popping out of the screen during your next 3D movie, it’s part of the Before the Window factor of that very film. But in watching Aquaman 2, a movie that really takes advantage of that aspect, I also noticed another usage of this component that’s not used quite as often: objects entering the frame from above the picture. 

There are several shots of the ship that Black Manta uses to carrying his wicked schemes that really show off both the Before and Beyond Window capabilities in delightful ways. In the context of Before, seeing this massive warship dropping in from the top of the frame and moving into the center is another signal of the massive scope this craft is supposed to occupy.

Pair that with everything from tridents, sonic weapons, mutated bugs, and Black Manta’s eyebeams poking out, and you’ve got a pretty impressive smorgasbord of visual panache. And that’s only the beginning, as Aquaman and the Lost Kingdom also gives us some premium Beyond the Window thrills to dig into.

BEYOND THE WINDOW - 5/5

The depths of the sea is only the beginning of what the DCEU’s swan song has to offer when evaluating the Beyond the Window factor. Honestly, that’s probably the low bar to clear with a movie such as this, as a mostly aquatic caper needs that sort of flash to really suck the audience in. James Wan’s Aquaman sequel definitely has that nailed, as Atlantis is richly painted in infinite depths.

What really pushes this movie into a field that’s a cut above most other 3D conversions is the fact that fast moving scenes don’t disrupt this, or any other aspect of the total third-dimensionally enhanced package. When David Kane, or anyone else, touches the black trident that causes all of Aquaman and the Lost Kingdom’s troubles, there’s a vortex effect that involves quick motions and a zoom effect.

That description is, quite possibly, the best usage of the Beyond Window illusion presented here; and it’s done so well that it wowed me each time it came up. As far as the usual suspects go, characters and their environments have stellar spatial reasoning; and close-ups of characters like Jason Momoa’s Arthur or Patrick Wilson’s Orm have that extra special ability to convey facial features with depth as well.

BRIGHTNESS - 2/5

Folks, you knew this wasn’t going to be a total love fest. I prefaced this Aquaman 2 evaluation by saying that the Brightness was especially problematic, and it’s time to dive into just how bad it is. For a movie that has a lot of scenes involving glacial darkness, and presents that aspect pretty pretty early on, it isn’t long before this movie shows the audience its literal dark side. 

As always, you need to be sure you’re going to a theater that you trust to present 3D movies properly. Not everyone maintains their equipment properly when shifting between 2D and 3D presentations, and I also have to note that this is the same theater, and even the same auditorium, I saw Lightyear’s 3D presentation in.

Seeing as I had similar issues with the brightness in that viewing, I’m starting to think I’ve found another local venue I’m going to actively try to avoid for future 3D showings. So in this particular case, I’m thinking Aquaman and the Lost Kingdom’s Brightness issues in this showing weren’t so much the fault of the conversion efforts. 

GLASSES OFF - 5/5

Let’s get back to the good news, shall we? We can’t sit here all day, glasses in hand, holding our heads in frustration, right? While we’re on the subject of glasses, watching a 3D movie like Aquaman and the Lost Kingdom is going to tempt us to take off our special facial furniture from time to time. There’s just something about looking at a blurry screen magically turn into a 3D image that excites us, I suppose.

And that blur is particularly strong, both in presentation and shift in focus, when observing Aquaman 2. A healthy amount of non-aligned visuals is present in both wide shots and close-ups, giving us that traditional double vision that we all know from this format. And if you like to look at characters/objects shift from a more 2D perspective into fuzzier 3D views, that’s another fun thing to try and spot.

AUDIENCE HEALTH - 5/5

Action is king of the ocean with Aquaman and the Lost Kingdom, which means there’s a potential for thrills, such as massive ship battles and fast paced close quarters combat, to make things interesting. And by "interesting," I mean these are the sort of sights that have made people queasy in the past; something that thankfully doesn’t happen all that often. 

3D has taken pretty huge leaps and bounds, and Aquaman 2 shows off that advancement rather well. You’re not going to have a problem when it comes to the motion of the picture, and even the darkness of this particular showing didn’t cause much of a strain when it came to actually watching it. So feel free to grab that popcorn.

FINAL VERDICT: 31/35

Aquaman and the Lost Kingdom may be the end of the DCEU, but it certainly sends things off on a visually striking front. It’s bittersweet to have this much fun, only to be reminded that the upcoming DC movies will be moving on into newer waters. 

With that in mind, I absolutely recommend seeing the goofy, colorful, high action fun that is this movie. Come to think of it, you might be well served if you seek out the extremely limited IMAX 3D format for this wild ride. Though I haven't observed that variant myself, past experiences like Transformers: Rise of the Beasts have left me feeling that it's still the best way to 3D at the movies.

And there you have it, loyal readers! 2023’s final To 3D or Not To 3D is in the books, and it’s a fine sight to see. Thanks as always for checking in with us to see where you should be spending your hard earned ticket money, and don’t forget to jump into the archives to relive highs and lows of 3D past! Until we meet again, have a healthy and safe holiday, and a prosperous new year!

The MCU is out in force this weekend, as Loki’s Season 2 finale and The Marvels give fans two different ways to celebrate this comic-based juggernaut. While Tom Hiddleston’s big moment is available to those at home with a Disney+ subscription, the trio of Brie Larson, Teyonah Parris and Iman Vellani are pushing boundaries in a theater near you. 

And with that comes an opportunity to ask one of our favorite questions: To 3D or Not To 3D? If you’re curious about how this picture works as a narrative experience, our own Eric Eisenberg has you covered with his The Marvels review proper. 

However, if you’re looking to determine whether this adventure is worth the extra ticket money, or if you should use those hard earned dollars towards the adoption fee for a Flerkitten, this is the place to be. So let's get a good look at the 3D behind The Marvels, and see what stands out!

Fit Score - 3/5

It’s hard to turn away an upcoming Marvel movie when it comes to 3D conversion efforts. Disney at large seems to be one of the last steady practitioners of third-dimensional presentations, which leads to, in the best case, results like Guardians of the Galaxy Vol. 3’s (inter)stellar 3D presentation,. That said, I don’t think The Marvels is a slam dunk fit for the 3D format.

While we’ve seen other movies use this premium experience to create surprisingly effective and intimate stories, director Nia DeCosta’s entry into Marvel canon could have gone either way. While there was potential for the powers and action on display in the trailers to wow the crowd, it doesn’t end up shining through the entire picture’s execution.

Planning & Effort - 3/5

Per what seems to be the industry standard, The Marvels is a post-conversion 3D product, as the film was not shot in native 3D. It’s a rarity to find a movie that’s shot in that method, and the difference shows when you compare a picture like this to something like Avatar: The Way of Water’s native 3D product. It'd be nice to see that sort of boom taking place again, but for now, post-conversion is the ruler of the land.

The conversion efforts of SDFX Studios and Seecubic are admirable, and the work shows by overcoming some of the most common stumbling blocks of 3D films. But for the impressive work with Brightness and the overall smooth work The Marvels shows off, it loses points in some of the more spectacle driven portions of this evaluation. 

Before The Window - 2/5

There’s only one real factor that stands out in the Before the Window factor in The Marvels’ 3D presentation: Flerkittens. The tentacles of mother cat Goose and her little Flerkittens are the one visual element that really takes advantage of throwing things into the audience. 

One of the bright spots of this story’s course of events is an extended sequence where Flerkens are an important plot device, leading to a lot of family-friendly tentacle action. I guess this is part of how Goose got her own poster for The Marvels, as the marketing campaign seemed to lean on the Flerken and her Flerkittens for plot-related reasons. 

However, having a Flerkitten literally eating the camera doesn’t cover up the fact that The Marvels doesn’t do much else to dazzle in this respect. This is even more upsetting when taking into account how impressive the MCU trio's powers are and how much they could pop in proper 3D.

Beyond The Window - 3/5

Things don’t get too much brighter for the Beyond the Window factor of The Marvels. Make no mistake, there’s a decent amount of dimension-breaching, power-wielding action in the latest Marvel Cinematic Universe romp. It’s just that the visual canvas of 3D isn’t used to its full potential to enhance those pieces of the film. 

There’s clear and crisp spatial reasoning at work that separates the characters from their backgrounds, and each other, so it’s not like things are totally flat. What stands out here though is a severely selective usage of the type of immersion that’s offered when drawing seemingly unlimited depth in the best usages of this format.

When there is an effort to really showcase such lush backgrounds, it does result in some of the better visual pops in the film. It's inconsistent and frustrating when trying to lose yourself in the 3D picture. 

Brightness Score - 5/5

You’d think that the Brightness factor would be an easy space for picking off some points, as this is a traditional arch-nemesis to the 3D experience. Prepare to be surprised, as I’m here to tell you that The Marvels actually excels in this field, as it’s pretty bright and clear as a bell.

Even when comparing the full brightness of the picture being projected to the glasses-on experience, the natural dimming doesn’t wash the picture in greyness. Of course, your mileage may still vary, as theaters vary in how they maintain their projectors. 

Glasses Off Score - 3/5

There is a lot of variation when it comes to the Glasses Off experience of The Marvels, and you’re definitely going to be tempted to check it out for yourself. That’s just a natural effect of the 3D ecosystem, as even the best experience will still leave you with moments where you want to peek out from behind your glasses. 

Were you do that with The Marvels, you’d see some moments of intense blur, particularly with wide shots on the various planets. Meanwhile, there are also some close-up moments that naturally leave a more 2D looking anchor more towards the center of frame to show off the rest of the 3D blur. 

Typically, the more blur there is, the more image manipulation there is at work to create the 3D effect. So the varied blur of The Marvels' picture seems to be the source of its inconsistent Before/Beyond The Window factor.

Audience Health - 5/5

The overall audience health factor to The Marvels is also something to celebrate. Action adventures that feature a lot of kinetic motion such as this tend to have moments here and there where the picture wonks out. That isn't the case with what's shown here. 

To its credit, The Marvels' battle scenes don't go overboard with any sort of shaky cam., nor do they fly with cuts so rapid it might disrupt the 3D effect, as we saw most recently with The Little Mermaid's 3D rendition of "Under The Sea." So if you're even the slightest bit prone to nausea in 3D, you're in good hands.  

Final Verdict: 24/35

Even with the power sets of Captain Marvel, Ms. Marvel and Captain Monica Rambeau being impressive feats that seem cut out for 3D, The Marvels falls short of being an enthusiastically endorsed experience. It's especially a bummer in light of Guardians of the Galaxy Vol. 3 being as fantastic as it was in this format, as Marvel Studios seems to be consistently inconsistent with how it handles this premium format. 

Alas, if you're a 3D fanatic like I am, I suggest you potentially seek out the ever-rare IMAX 3D showtime. That provider's 3D conversions still seem to present a gold standard, as exhibited in Transformers: Rise of the Beasts' 3D presentation. At the very least, see this one at a theater you know you can trust with your 3D needs. With that, we're officially wrapped on this installment of To 3D or Not To 3D! 

Please remember to recycle your glasses and wrappers on the way out of the auditorium, and if you haven't already, check out our rundown of The Marvels' ending. There's some pretty wild stuff to discuss as we wait on the future of the MCU, as well as our next 3D evaluation.

Something is lurking in the water and waiting to strike. Lucky for you, dear readers, Meg 2: The Trench is the type of beast that attacks in the comfort of a theater near you, and with the return of Jason Statham’s big beastie blowout comes another chance to grab onto some 3D-enhanced thrills. Which means it’s time to swim through one of our favorite questions to ponder around here: To 3D or Not To 3D?

We won’t be discussing how director Ben Wheatley’s movie works as a pure cinematic experience. If you want to see what our own Eric Eisenberg thought of the film, you can head to CinemaBlend’s Meg 2 review. But for those of you who are ready for third dimensional excitement, then slip on your 3D glasses and prepare to dive into these waters with us as we take a look at how much Meg you get for your 3D buck! 

Fit Score - 5/5

Oh wow, has it really been that long since I logged The Meg’s To 3D score?! Five years can surely change a franchise, especially when the usual legacy card doesn’t work in judging whether Meg 2: The Trench is a good fit or not. Judging by the previous score of 26/35, and my own comments on how the first film was “a middling 3D experience,” I can’t say that this sequel is a good fit on previous pedigree alone.

However, I can say that Meg 2 is a way better fit for 3D based on actual execution. This sequel is a vast improvement in how this series actually uses the medium. Lessons were indeed learned, and what results is a movie that’s an absolute blast in terms of its third dimensional prowess.

It's not always a given that a series will consistently incorporate 3D into its future (I'm looking at you, Spider-Man: Across the Spider-Verse and Mission: Impossible - Dead Reckoning Part One). But I'm pleased when something like Meg 2: The Trench comes along and fully understands how to keep 3D in play, with substantial improvements added in as well.

Planning & Effort - 4/5

Fins up to the folks at DNeg for their fantastic work on Planning & Effort when it came to Meg 2: The Trench. It really feels like this team looked at the errors of the past and put in a serious effort not to repeat those mistakes with this next chapter of adapting author Steve Alten’s adventure novels. 

With the exception of some minor bumps in the road, you should have a fun time enjoying Megalodons chomping on other creatures and swallowing whole mouthfuls of human tourists. The 3-DNA is strong in this one, as I could imagine watching a scene where Jason Statham impales a Meg in 2D and knowing it’d look amazing in 3D. Having actually seen that scene, and in that very format, that assumption is proven absolutely correct. Which leads to our first round of critiques!

Before The Window - 5/5

Remember the Tyrannosaurus Rex you saw get eaten in Meg 2: The Trench’s trailer? That scene opens the movie with a rather powerful statement, as we see one of nature’s most iconic predators bested by a Megalodon. Say what you will about that moment, but it’s a pretty shocking open to this creature feature, with blood and water shooting at the audience almost immediately. 

That's one hell of an introduction to the movie’s 3D component, making a strong impression in the Before the Window factor. This is a category that can be criminally underused in some films, but Meg 2 is not such a project, as it has so much to share with the audience by throwing things into their metaphorical laps. Again, there’s a scene where Mr. Statham impales a Megalodon, and it includes nice lingering shots of the blade poking out of the creature… and right into your face.

Guns point out at the viewer in a way that’s just as impressive as whenever Optimus Prime would aim a cannon at the screen in Transformers: Rise of the Beasts’ 3D presentation. That’s a simple factor that many third dimensional enhancements love to employ. This is Meg 2: The Trench though, and that means there are tons of sea creatures, and the jump scares that involve them, that get to float into your field of vision beyond the window. 

Beyond The Window - 5/5

Bubbles, my dudes; bubbles in Meg 2 are a fantastic element that help portray the depth of picture in Ben Wheatey’s big follow up. It’s been a pretty big year for aquatic 3D antics, as even The Little Mermaid’s 3D score saw depth under the sea lend a huge hand to its overall score. 

And when you’re as underwater as this Megalodon-centric adventure happens to be, that depth can make or break the illusion. Even something as simple as a viewing window or the glass of a diving helmet portrays the proper sort of separation needed to sell what you’re seeing on screen. Plus, the standard separation of characters from their surroundings, and each other, is definitely on display throughout.

Scenes that see Jason Statham’s Jonas Taylor floating in the sea are also pretty amazing, as the effect of the cameras bobbing in and out of waves lends some extra pizazz to those scenes. Capping off the style points in this section is the fact that not only are bubbles used for fun depth perception play, but so are the subtitles. Touches like that really bring home an experience like Meg 2: The Trench, and they tie together rather well with the effects that jump off of the screen.

Brightness Score - 4/5

Both entries in The Meg series have a mix of scenes that take place in broad daylight, as well as in darker settings with colorful accents. Director Jon Turtletaub’s 2018 franchise origin story seemed to have a problem with those daytime scenes in particular, and I’m happy to report that Meg 2 doesn’t have that same problem. 

The picture is just a little dim, which is the norm as putting tinted glasses on naturally brings the lighting down a little. While your mileage may vary, as not every theater keeps their 3D equipment properly calibrated, Meg 2: The Trench doesn’t have any major problems making the picture unwatchable.

This is most impressively highlighted in early scenes at the bottom of the ocean, when sharks and other creatures emerge from the gloom in rather menacing fashion. Executed incorrectly, this could have been so dark that you wouldn’t be able to make out the Meg in front of you. But as it stands, you can see right into the gaping maw of these beasts even in the pitch black depths.

Glasses Off Score - 5/5

How blurry is Meg 2: The Trench? It’s so blurry that if you take your 3D glasses off during a scene with subtitles, you really get a feeling for what’s being done. And let’s face it, one of the constant temptations of 3D film viewing is to take those glasses off and look at the blurry image on display. Anyone who’s ever read a 3D comic book can attest to that fact as well.

Blur is strongly present throughout the film, as the usual manipulations draw contrast between specific 2D-looking anchor points and the blurry components meant to stand out. Seriously though, I take my glasses off at random intervals in movies like Meg 2 to make sure that the blur is even still present. 

Seeing the subtitles getting in on the fun made my day, as weird as that sounds. Playing around with a component as simple as that shows a degree of real care when putting a 3D presentation together.

Audience Health - 4/5

Unfortunately, there is a little bit of 3D wonk when it comes to some of the action scenes in this thrill ride. Earlier moments where Jason Statham is wrecking shop with a ship full of polluting bad guys move a little too fast, causing the 3D effect to confuse the eye in the midst of the action.

This doesn’t happen often, or to a movie-breaking extent, but at times Meg 2: The Trench does go a little too hard when it comes to some moments of fast paced happenings. Other than that, you’ve got an almost entirely smooth experience waiting for you with this third dimensional treat.

Final Verdict - 32/35

I don’t know if Meg 2 is the most improved leap I’ve seen in a 3D franchise’s efforts, but it’s certainly one of the best. My notes are minor, as there are certain pieces that could be tightened up a little bit. But compared to The Meg’s previous foray into 3D, this new round of mayhem is much more enjoyable to behold. If you’re going to see Meg 2: The Trench, you should definitely see it in 3D to give the whole ride that extra oomph. 

Come to think of it, I’d like to make another suggestion to all of you To 3D fans out there. If you’re looking for another double feature in the spirit of Barbenheimer, I’d suggest you not only see Meg 2 in 3D, but follow it with a 3D showing of Teenage Mutant Ninja Turtles: Mutant Mayhem. Since we didn’t do an official evaluation of that film, I feel the need to suggest that lovingly crafted experience as another must see in 3D. 

With all of that on the table, it’s time to close the book on this installment of To 3D or Not To 3D! I’m not quite sure when we’ll all meet again, as the market is still touch and go with what it delivers in this format. So I’ll just leave it at I’ll see you all around when the time comes to put on those glasses and leap eyes first into whatever 3D world comes next. Until then, dear readers! 

Thrills that are more than meet the eye have returned thanks to director Steven Caple Jr’s Transformers: Rise of the Beasts bringing the legendary ‘80s toy line back to the movies. There will be car chases, epic battles and perhaps some new entries into the canon of our favorite Transformers explosions. And thank Primus we have another question to ponder with this new installment, the one I’m most keen to discuss with you all today: To 3D or Not To 3D?

If you want to read what I thought of the film as a narrative experience, you can head to CinemaBlend’s Transformers: Rise of the Beasts review. But if you want to know if your 3D ticket money is a sound investment, or if you should focus on acquiring some recently discovered antiquities from Cybertron instead, then this is the place to be. Roll out those grey and black shades, as we’re about to get started. 

Fit Score - 5/5

Does a Transformers movie belong in 3D? Historically, the answer would seem to be yes, as the format has been present as far back as 2011’s Transformers: Dark of the Moon. With franchise returns like Spider-Man: Across the Spider-Verse ditching the format they once danced with, seeing Transformers: Rise of the Beasts return to the floor is an initially comforting thing. 

As for the fit presented in the final result, which was observed in an IMAX 3D screening for this review, it's a solid match. The size and scope of the picture fits better on the IMAX screen, and 3D definitely adds a fun layer of excitement to this presentation. In fact, it's right up there with Guardians of the Galaxy Vol. 3's 3D variant as one of the year's best. 

Planning & Effort - 5/5

Sadly, the days of Michael Bay shooting in native IMAX 3D seem to be rare occurrences with movies of this magnitude. So the Planning and Effort in most 3D movies is focused in the realm of post-conversion, which is created after the fact. The conversion of Rise of the Beasts was handled by DNeg, the company that was also behind The Little Mermaid’s 3D experience, as well as the stellar conversions of both the third-dimensional variants of Dune and No Time To Die.

Does Transformers: Rise of the Beasts continue carrying the company’s work as a 3D standard? Oh yes, indeed it does. This was a pretty perfect experience in third-dimensionally enhanced viewing, and I continue to think that maybe the IMAX format is doing a better job at presenting 3D than standard showings. That sentiment is felt throughout the finished product, so let's start drilling down into the particulars. 

Before The Window - 5/5

Look, if your expectations for Before the Window thrills weren’t set by that header photo at the top, then I don’t know what to tell you. When 3-DNA is present in the official stills for a Transformers movie, you’re expecting that cannon Optimus Prime (Peter Cullen) is pointing at the camera to feel like it’s a threat. Seriously, it's a shot that looks perfectly planned and ready to jump off the screen!

That shot lives up to its promise, and then some, in Transformers: Rise of the Beasts. A LOT of robotic weapons are aimed out at the audience, and you can truly feel it. Also, there are some very choice jump scares where robots are jumping out at you, ready to attack. And it's not just felt in select instances, as this movie goes all out with throwing debris, characters, and planet-eating robots at the audience. Throw in some extras like sparks, dust and asteroids, and you pretty much have the full package.

Beyond The Window - 5/5

Just as it’s important to have Transformers thrills that threaten to leap off the screen, Rise of the Beasts would be robbing itself if it didn’t pay attention to the environments it depicts. With everything from the streets of New York to the jungles of Peru being shown off, seeing such sights with no depth would be a true squandering of the Before the Window aspect of 3D. 

The depth is picture perfect, from the desolation of space and all those other locations in-between. Just as you feel like Terrorcons are about to grab you at times, the environments the action and drama take place in are limitless. Plus, the spatial reasoning between characters and their settings is crisp and well delineated. It actually helps show just how small us humans are compared to Optimus Prime at full height.

Brightness - 5/5

It’s that time again, folks! It's time to see if the Brightness to Transformers: Rise of the Beasts’ 3D stands up to one of the format’s greatest foes. Even the most recent entry in this saga, Bumblebee, had some issues with depicting night scenes in 3D, because of the inherent darkness that is present when slipping on those tinted frames. Sure enough, there’s some first act action in a nocturnal setting, which felt like a pretty strong and early test of how the Brightness factor of this seventh installment.

I must mention the standard caveat that your mileage may vary in 3D, as the quality in how your local theater maintains calibration between formats is a huge factor. With that out of the way, Rise of the Beasts actually held up in even the darkness of the Ellis Island fight of Act I. Again, the IMAX factor may have boosted this one a bit, as those projectors are pretty big and bright. That only makes the fact that the company has turned away from this format all the sadder, as this Transformers adventure was crisp and clean all the way. 

Glasses Off Score - 5/5

Whether the 3D is good, bad or average, you’re going to want to take your glasses off from time to time in order to see the blur. It’s a natural compulsion, as you’re either a curious person or you need to give your eyes a break. Either way, this is a good time to observe how manipulated the picture looks, which typically signals the amount of effort put into trying to turn a 2D image into a 3D spectacle. 

Transformers: Rise of the Beasts mixes it up between a heavy blur factor and very subtle effects. But the film is constantly blurring something, be it the background of the Diaz family kitchen or the combatants trying to fight it out in a gigantic skirmish in Peru. And yes, the mid-credits scene AND the main-on end credits continue the 3D fun, so don't take those glasses off too soon.

Audience Health - 5/5

Big action in 3D has led to some issues in the past involving the audience’s health. The early days would see complaints of headaches and nausea, which triggered all sorts of evolutions in the format to combat such historical stumbling blocks. So typically, unless there’s some jank in scenes that move too fast for the 3D to register, or if the brightness is too dim, there’s usually no discomfort when watching something like Rise of the Beasts in 3D. 

Thankfully, this is one of the most comfortable 3D experiences you're going to have. Without any sort of jank present, even with fast moving sequences of cars and characters speeding across the screen, your eyes are taken care of through this Transformers epic. 

Final Verdict - 35/35

If you're going to see Transformers: Rise of the Beasts this weekend, good on you, it's an awesome ride. But if you're going to see it in 3D, the IMAX 3D format is well worth hunting down. It's a more limited offering, but definitely a true investment in the scope and scale of a Transformers movie. Otherwise, conventional 3D is probably along the same lines. Just to be sure though, don't forget to go with a theater you trust to maintain the true 3D experience. 

This is To 3D or Not To 3D, sending a message to all third dimensional fanatics out there. The next time we meet, barring any surprises, should be for Disney/Pixar's Elemental. So be sure to see Transformers while you can before it rolls out of a 3D showing near you. Until next time, and until all are one, have fun and keep the 3D experience alive and thriving.

It’s time for The Little Mermaid to become a part of our world yet again thanks to director Rob Marshall’s live-action Disney remake. With Halle Bailey taking her place as the latest flesh and blood Disney princess, a lot of questions about how this 1989 classic will be updated are about to be answered. So what’s one more question to be thrown onto the pile, as it’s time to ask one of our favorite queries around these parts: To 3D or Not To 3D?

If you want to see what our own Corey Chichizola thought of the film, you can head to CinemaBlend’s The Little Mermaid review, but that’s not what we’re here to talk about. No, we’re here to determine whether Ariel’s adventure is worth the extra 3D ticket money, or if you’d be a poor unfortunate soul to have spent it. So with that in mind, let’s go under the sea and see if this third dimensional premium makes things better down where it’s wetter.

Fit Score - 5/5

Disney’s live-action films in 3D are much like the Marvel Cinematic Universe or any other major blockbuster genre that came up in the post-Avatar world. There’s a strong tradition of movies like this being transported into the third dimension, stretching as far back as 2010’s Alice in Wonderland remake; which happens to be one of CinemaBlend’s earliest 3D reviews.

Though a legacy such as that doesn’t always make for a natural 3D fit, in the case of The Little Mermaid, the movie does make for a wonderful pairing with this premium format. On a practical level, everything from shipwrecks to outlandish musical numbers feels like an opportunity to really sell the audience on the universe they’re entering into with this latest live-action remake. 

Planning & Effort - 3/5

Planning & Effort is most important on a live-action movie that’s not filmed in 3D, as there’s a lot of manipulation to consider to make it worth the time to watch. Not everyone’s filming in native 3D like James Cameron did, so it’s harder to make a film look as inspiringly beautiful as Avatar: The Way of Water's 3D presentation, as it’s not always shot with the consideration for this future tinkering.

There are two factors that knock the Planning & Effort down a little bit, and I apologize in advance to the folks at DNeg for their diligent conversion work on The Little Mermaid. The obvious drawback is the brightness levels, which we can discuss in more detail later. But perhaps the greatest problem is the fact that my screening of the film saw the last 25 minutes play out in 2D.

Thanks to a glitch that kicked in just as Eric and Ursula were at the altar, the left projector was running the film’s credits and the right projector was still on course with the plot. Apparently the theater I visited had this same problem in early screenings the night before, and it hadn’t been fixed or highlighted before attending this showing. 

So for that reason, and with sincerest apologies to the 3D conversion house, I’ve deducted another point from this movie’s score. While I didn’t get to see Kaiju Ursula raise hell in 3D, the rest of this review will be based on the bulk of the movie, which I saw in the Dolby 3D format.

Before The Window - 4/5

When it wants to employ the Before the Window factor, The Little Mermaid can be quite breathtaking. It didn’t even take long to prove that the strong potential for eye-popping thrills was present, as the first harpoon going into the water in the opening moments of the picture actually made me flinch.

The best usages of this effect carried on throughout the film, as things like Halle Bailey’s Ariel using a spyglass and Sebastian (Daveed Diggs) floating towards the camera in a panic really made a splash in the visual canvas of the film. Do I feel like it could have been used more often? I absolutely do, especially with Melissa McCarthy’s rendition of “Poor Unfortunate Souls” making for another 3D delight on both sides of the window. 

That said, the way this effect was used, based on what I got to see of it, was pretty spectacular, while also subtle. There's always room for effects that project off the screen in 3D, so long as they're used to enhance the storytelling. While I admire the restraint, The Little Mermaid could have let loose just a little more in this respect.

Beyond The Window - 5/5

Admittedly, if there was a specific factor I was looking forward to in watching The Little Mermaid in 3D, it’s this one. Beyond the Window pertains to the depth of picture in any given premium presentation. So a story about a princess from under the sea traversing between the worlds of the water and the land is something that needs to pop when it gets a third-dimensional enhancement.

In this corner of the 3D evaluation, Ariel and her underwater domain are the true star of the show. You can feel the depth of the water in sequences like “Part of Your World,” as well as the added texture of effects like a massive rainstorm during a shipwreck. Even in the land-based portion of the story, the hallways of the castle where Ariel and Prince Eric (Jonah Hauer-King), and that enchanted lagoon where he almost kisses the girl, sparkle with proper depth and clarity. 

As for the standards, characters and their environments are well delineated. Also, for some added Beyond the Window panache, moments where Scuttle (Awkwafina) flies through the air also showcase a feeling of being up in the air. This could possibly be the crowning glory of The Little Mermaid’s 3D presentation. 

Brightness Score - 3/5

There’s something I’ve been dreading since I’ve started seeing the trailers for The Little Mermaid, and it’s not the fact that this is a live-action remake of one of my least favorite Disney movies. No, it’s the fact that every trailer I’ve seen for this movie in 3D has been obscenely dark and washed out. Maybe it’s because, as always, your  mileage may vary depending on which theater you observe a 3D screening in.

I’m not the only person who went into this movie with such concerns though, as even commenters on the internet have noted that same concern. So does The Little Mermaid’s finished 3D product rise above that complaint? Kind of. 

Oddly enough, the underwater kingdom feels like the clearer portion of the overall picture. Sea creatures great and small have some colorful flair to them, as does the setting of Atlantea. “Under The Sea” shows this off pretty well, which kind of balances a 3D problem that sequence has in its grand finale that shows off a bunch of those denizens of the sea. 

The human world, it’s a messier proposition when it comes to the Brightness of The Little Mermaid’s visuals. The grey effect you get when you slip on your glasses feels like it’s built into the picture itself; though it’s not nearly as bad as one of the most recent blunders in this field, the 3D conversion of Thor: Love and Thunder. 

While this proves that Dolby 3D has some pretty decent brightness built into its presentation, it still can’t change the fact that a dusky sort of layer dulls out the color that could be present through most of the movie. “Kiss The Girl” is another good example of where this can be seen, and it truly is a shame that Disney's branching into Dolby 3D saw this traditional foe rear its head again.

Glasses Off - 5/5

Whether you have a valid reason to take your glasses off or not, people tend to get curious about how blurry the image of a 3D presentation looks without the aid of glasses. That’s the best time to slip your facial furniture off and take a look at the manipulated image before you, which more than likely suggests just how much work has been put into the finished produce of something like The Little Mermaid’s total 3D-enhanced package. 

The blur present throughout the film is constant and respectable, hitting all the hallmarks one would expect. 2D anchor points are surrounded by the fuzz that clears up once you put your glasses on. Also, the wide shots present are just as hazy as you’d expect, whether above or below the waves.

Audience Health - 3/5

Two major eye wonks presented themselves in my 3D screening of The Little Mermaid, and both of them took a toll on the Audience Health score. The greyness of the picture, while definitely annoying, didn’t seem to totally kill the vibe of the movie. However, “Under The Sea” has a finale that needs to be talked about when it comes to your Audience Health.

There are so many quick cuts to various sea creatures that even in 2D, I’d suffer a visual whiplash. But in 3D, this is even more confusing to behold, and it’s a moment where the effect kind of disappears because there’s not enough time to visually register it. That was nothing compared to the malfunction that plagued this screening’s final act, which introduced a slightly painful aspect to watching a 3D movie.

If a standard 3D movie were to have a glitch, you’d either run into one of two problems: the image is blurry even when your glasses are on, or the picture defaults to 2D. With this dual projector mishap in Dolby 3D, one eye was showing the credits and the other was showing the movie. Removing the glasses fixed this no problem, but in the initial moments of noticing the malfunction, the visual confusion actually hurt a bit. 

Final Score - 28/35

Honestly, the only way I’d see The Little Mermaid is in 3D, as that’s probably the freshest angle this movie has to offer. It’s basically another version of the 1989 classic that follows the same beats, with little additions to the party here and there. I might even say that, provided it’s working correctly, Dolby 3D is a great way to spring for some extra thrills, as the clarity sold in that format does work wonders. 

With that in mind, if the experience I sat through persists, I can only half heartedly recommend the Dolby 3D experience, and would recommend looking into either the extremely limited IMAX 3D option, or the standard 3D option instead.  This is even more disheartening to say after Disney saw an almost perfect 3D experience in Guardians of the Galaxy Vol. 3.

The work that went into The Little Mermaid is commendable, but now more than ever theaters need to make sure that they’re keeping their 3D equipment calibrated properly; especially if these issues are already known ahead of time. At the same time, customers who are partial to the format should keep in mind the locations they truly trust to do 3D exhibition justice, and vote with their buying power. 

That’s enough of the 3D soapbox for this outing, as our time in the bubbles has come to an end. Next time on To 3D or Not To 3D, barring any scheduling snafus, we’ll be rolling out with Transformers: Rise of the Beasts and learning whether we should answer the primal call in 3D, or stick to those 2D lakes that we’re used to. Until then, dear 3D-ers!

Showtime, A-holes! Guardians of the Galaxy Vol. 3 is finally in theaters, with all of the laughs, tears and explosions you could hope for. Writer/director James Gunn’s big sign-off in the Marvel Cinematic Universe is about to take us all for a ride. But just as it’s important to ask which playlist goes well with fighting someone as ruthless as The High Evolutionary, it’s just as important to ask one of our other favorite questions: To 3D or Not To 3D?

If you want to see how our own Sarah El-Mahmoud thought of the film, you can head to CinemaBlend’s Guardians of the Galaxy Vol. 3 review. As always, if you’re looking to see if you should spend the extra ticket money, or save up for a brand new Zune, you’re in the right place. Let’s step aboard the Bowie, strap in and slip on those cool 3D shades, as we’re about to fly together into the forever and beautiful sky!

Fit Score - 5/5

At this point, Marvel could simply rest on its laurels and claim that its films are always a good fit for 3D. The studio has stuck with the format through thick and thin, and the results have shown that for better or worse. When it comes to Guardians of the Galaxy Vol. 3, however, a gold standard has been set, so much so that I’m going to have to reconsider the Fit Score even more carefully. 

James Gunn’s would-be blockbuster grabs hold of this premium format and never lets go. I shouldn’t be surprised, as Gunn was outspoken as personally tweaking Guardians of the Galaxy’s 3D for the 2014 release, and that same spirit feels very much present here. But the results speak for themselves, so clearly the 3D feels like it’s as natural an enhancement as the kickass soundtrack. The Guardians are absolutely a hand in glove fit for 3D, and I think I enjoyed the movie even better seeing it presented in that format. 

Planning & Effort - 5/5

Ever since Kevin Feige’s comments on Doctor Strange in the Multiverse of Madness’ 3D conversion, it’s a good idea to pay attention to whenever a member of the Disney/Marvel team starts talking up the format. Which is why when Evan Jacobs, Disney’s VP of finishing and stereo, told THR that the 3D-enhanced version was “really cool,” my ears perked up.

As Guardians of the Galaxy Vol. 3 has hundreds of versions heading out to theaters, Jacobs noted that traditional and select Dolby-enhanced screens will show a version that triggers different aspect ratios being in play on the screen. That’s allegedly where the “really cool” part Jacobs seems to have promised comes into play, which sounds like Planning & Effort talk if I’ve ever heard it.

So did Planning & Effort pan out in this Guardians of the Galaxy adventure’s favor? Yes, it definitely did. However, that aspect ratio tweak didn’t exactly show up in my version of the film. Even without that extra flourish, there are shots and sequences in this movie that really show how much the P&E from conversion house SDFX stand out with Guardians of the Galaxy Vol. 3, and that love and care only heightens the overall experience. 

Before The Window - 5/5

Before the Window thrills literally pop out at the audience, breaking the imaginary barrier between the action and the viewer. Other than Brightness, this segment feels like it’s one of the most inconsistent when it comes to the world of 3D movies. Most movies do a decent job of employing this effect, but very few truly stand out. Guardians of the Galaxy Vol. 3 absolutely stands out.

Yes, there are quite a few guns that get pointed at the camera, and those stick out beautifully in some high-caliber action scenes. Also, something as simple as Pom Klemintiff’s Mantis pointing in dismay, or the Bowie entering and exiting hyperspace, both get to stand out through this effect as well.

What's most impressive is the fact that there’s one aspect that bridges both the Before and Beyond the Window factors in beautiful detail: facial features. In particular, the CGI creations like Rocket Raccoon (Bradley Cooper) stand out rather well in this field, as you could be tempted to try and pet his forlorn face in some scenes.

Beyond The Window - 5/5

Crossing over to the Beyond the Window factor, the depth of picture is reflected in the facial features mentioned above as well. Deep close-ups of faces see a special dimension added that really make those features pop. But, of course, the Beyond section is more than just depth in a close up, and Guardians of the Galaxy Vol. 3’s steady-handed conversion doesn’t forget that for a second. 

Not only are spacebound scenes drawn with the proper depth to display an endless field of stars, but in cases like the Orgocorp break in, there are gorgeous shots of the Guardians floating in space with stellar spatial reasoning. At one point, we see our heroes floating about in a scattered line, and everyone’s super easy to pick out from their environment, as well as each other. 

But if you want a scene that merges both the Beyond/Before realms perfectly, it has to be the third act standoff set to the Beastie Boys’ “No Sleep ‘Til Brooklyn.” Guardians of the Galaxy Vol. 3 uses this scene as its top tier action set piece, and the third dimensional enhancements that result could be one of the best 3D scenes I’ve seen in quite a while. A fast-moving action scene that moves quickly, but allows the audience to see everything clearly, while mixing effects of depth and projection? It’s here, it’s spectacular and it’s another sterling credit to the 3D conversion team’s work on this picture. 

Brightness Score - 4/5

We all knew this was coming, didn’t we? Here comes the only field that Guardians of the Galaxy Vol. 3 lost points over. But even in this usual pit of darkness, the movie doesn’t succumb to this factor as much as other projects have, especially in the realm of superhero movies. In fact, it’s only a little dimmer than I would have liked, but is still exceedingly watchable.

Your standard caveats still apply: quality of Brightness will vary between theaters, as they don’t all calibrate their rigs properly. Not to mention, I knew how colorful this movie was going to be, as I’d previously screened it in IMAX 2D. It’s safe to say that even with that slight dimming behind the 3D glasses the colorfully vibrant world of James Gunn’s Marvel threequel was never robbed of its joy. 

Which is especially important in the brighter variant of the now Guardians-controlled Knowhere, the shiny red tinted office of the High Evolutionary (Chukwudi Iwuji) and the ‘60s/’70s sci-fi influenced offices of Orgocorp. All of those settings exhibit a wide swath of pigmented fun, and you won’t be robbed of that no matter what format you choose.

Glasses Off Score - 5/5

Whether your eyes get tired or not, you’re always going to be tempted to remove your 3D glasses when watching a movie in that particular format. It’s a given because we naturally want to know what’s going on beyond the glasses we have to wear. Guardians of the Galaxy Vol. 3 takes full advantage of this facet, though you may have some hesitation to try and check out the goods for yourself when watching something as visually striking as Adam Warlock (Will Poulter) slamming Rocket Raccoon through walls.

'Blur' is the word when you slip those grey-tinted frames off of your eyes. Your usual shift between 2D anchor points and blurry 3D embellishments are present, as the rule of thumb is that the blurrier the image, the more 3D manipulation is present. Even those 2D anchors blend in rather nicely with their more enhanced aspects, allowing for destruction, armed combat and tearful goodbyes to stand out as dynamically as they do.

Audience Health - 5/5

 A 3D movie can be physically taxing on an audience member if not properly crafted. Eye strain can lead to a general sense of fatigue, and sometimes there are even shots that wonk out the 3D effect to the point where your eyes feel confused. Coincidentally, I first discovered the latter effect myself when seeing the 3D presentation of The Avengers in 2012, as one shot of the Chitauri army invading Earth was visually confusing.

Marvel Studios’ 3D has come a long way since those days, and Guardians of the Galaxy Vol. 3 is not straining in any sense of the word. The picture is smooth and fluid in its movements, with action sequences shining through brilliantly. Not even the slight dimness noted in this screening impacted how it “felt” to watch this movie during this premium presentation. So you don’t have to worry about needing eye drops or a nap after watching this trilogy-wrapping phenomenon.  

Final Verdict - 34/35

It pains me not to be able to give Guardians of the Galaxy Vol. 3 a perfect 3D score, as it’s truly one of the best conversions I’ve seen in quite a while. I’d even go as far as saying it’s worth looking into whether or not your local theaters have one of those increasingly rare IMAX 3D showtimes. This is merely based on speculation, as my experience with the sound in the IMAX 2D press screening, combined with the 3D ride I took at a local theater, feels like a formula for a mindblowing experience. 

And with that, we close the book on another To 3D or Not To 3D mission, designed to play guardian to your wallet and the money that’s still in it. It shouldn’t be too long before we reunite, as if plans work out as they should the forthcoming The Little Mermaid should be our next third dimensionally-enhanced adventure. But until our next adventure, be sure to keep your glasses clean and recycle your 3D specs in the bin in the lobby. You don't want to disappoint Groot, do you?

What’s your favorite scary movie, 3D fans? There have been several famous slashers that have broken the window at some point or another in horror history, with Jason, Freddy and even Leatherface all having a turn. Now, third-dimensional terror has a new face in a familiar form, as Scream VI is sending the latest Ghostface to New York City in a franchise first. It’s time to ask another very important question, and one that can be scary depending on the answer: to 3D or Not to 3D?

If you want to read how our resident Scream expert Corey Chichizola felt about this latest thrill ride, CinemaBlend’s Scream VI review is what you’ll need to read to find out. Otherwise, it’s time to see if these 3D glasses can fit comfortably over the mask that’s claimed so many lives. Let’s see if Scream VI is worth the extra ticket money or if you should upgrade that voice changer for all future prank calls.

Fit Score - 5/5

As I had mentioned before, horror has a rich, if not inconsistent history of making it into the 3D space. Sometimes the finished product has left audiences feeling as if the format was just included to throw in a bunch of cheap gags. Though in other instances, like the 2009 remake of My Bloody Valentine, the line between sight gags and top-notch scares was walked rather finely. 

So when Scream VI was announced as a surprise 3D experience, the question of how well it would fit was a valid and present concern. Fear not, as while there are some slight hitches here and there, this is a movie that felt nice and cozy in 3D. If anything, this movie stands as a really good case for why future Scream movies should be conceived and shot with 3D in mind. 

Planning & Effort - 4/5

Another reason for concern involving Scream VI’s unexpected 3D release is the fact that this movie clearly wasn’t shot in native 3D format. While that’s not exactly something that’s common, as not everyone is setting out to make an Avatar: The Way of Water-like 3D experience, a conversion effort on a project like this might be even more difficult as a result.

Strangely enough, when I had heard that this movie was going to 3D, the first thing that came to mind was No Time To Die’s surprisingly good conversion. I say that’s strange because conversion/effects house DNeg was not only behind Bond’s big foray in the third dimension, but they were also the masterminds behind this Scream of a time. For a non-native 3D experience, DNeg has yet again pulled through with a fantastic effort.

Before The Window - 3/5

This is the number one field Scream fans are probably keeping their eyes on when it comes to the fifth sequel’s finished 3D product. If you can’t feel Ghostface stabbing towards you with a trusty knife, or in the case of Scream VI, aiming a newly acquired shotgun in the audience, then what’s the point? 

I really wanted more thrilling elements breaking out in the Before The Window factor, but what we do get is rather nice. It's mostly guns that point out of the screen, which is probably the second most frequent weapon of choice in the Scream series. Still, not having at least one Ghostface knife slash feel like it's coming right at you feels like a minor, non-deal breaking disappointment.

The bodega attack and the final standoff in the final act are the big standouts in this factor, and if you had problems believing Ghostface with a shotgun, the 3D version will make you a believer. If there’s a Scream VII and this premium format is considered again (as it should be), this is probably where the largest improvements can be had.

Beyond The Window - 5/5

Admittedly, when I heard there was going to be a 3D version of this movie, my thoughts immediately turned to the Scream VI teaser trailer. Ghostface slowly stalking some of Scream’s survivors on a subway train looked like the optimal scene that could prove whether or not the depth of the picture was manipulated to an exciting extent.

Right from the beginning, there’s an expert level of depth added to Scream VI’s 3D conversion. The pre-title sequence takes full advantage of a crowded restaurant, as well as a dark alley, showing a spatial depth that separates people from their environments. This is also a very crowded movie, and New York City’s lack of personal space makes for some fun eye candy should you let your gaze wander into the background. Oh, and the subway scene is definitely a good benchmark for this sort of effect, both in reference to this film’s efforts and good 3D effects in general.

Brightness - 4/5

If there was ever a usual suspect in what could kill a 3D conversion effort, it’s the brightness of the picture. The usual caveat is that you should choose a theater you trust to see a premium presentation of this nature, as not everyone calibrates their projectors properly. 

Shifting between formats improperly can dim a picture significantly, as the image of a 3D movie needs that extra brightness a 2D movie doesn’t. With that in mind, it’s not always the fault of the conversion house when a movie like Scream VI potentially winds up darker than intended. 

The screening I observed for this entry of To 3D or Not To 3D seemed pretty well off when it came to its lighting, though there was a decent degree of dimness that tinted the picture. That being said, for a movie that takes place mostly at night and in a major city with some pretty dark settings, Scream VI isn’t too hard on the eyes. 

Glasses Off - 4/5

While we’re breaking down the stuff we notice with the glasses on, let’s take a look at what we see with the glasses off. The temptation to take your 3D shades off will arise from time to time, whether it’s to give your eyes a break or just for garden variety curiosity. Scream VI isn’t going to visually stress people all that much, but it does have some interesting degrees of visual blur.

As the factor that shows how much the image of the movie has been tweaked to turn Tara and Samantha into literally three-dimensional characters, the blur is varied when it comes to what’s displayed. In some scenes, the blur is strong throughout the frame, whereas others have a dialed back, almost 2D quality. This may be where the lack of Beyond the Window thrills originate from, but the same could also be said for the beautiful depth that’s evidence in the strong blur that seems to almost always be in the background. 

Audience Health - 4/5

A sort of encapsulation of everything we’ve been talking about, the concern for audience health comes from the traditional nitpick of how most 3D movies would make people nauseous to watch. Those days seem to be over, and even though the Scream franchise has been known for fast-paced scenes of attacks and pursuits, the sixth film in the line isn’t a jarring mess behind those 3D glasses.

There are a couple small instances of visual wonk that might confuse a viewer’s eyes in Scream VI. Most notably, an early Halloween party scene and one of the chases down a hallway during the final act are where some of the movement is too quick for the 3D to properly register. You won’t puke while watching this movie unless you’re extra squeamish about blood.

Final Score - 29/35

Going into Scream VI, I was hoping that maybe the movie would replicate the unexpected 3D success of No Time To Die. While that's not totally what we get out of this experience, it's not a bad comparison as to what to expect. Again, this is a solid proof of concept for going all out in planning the next Scream movie, and horror films in general, with a 3D flare in mind from square one. 

It also helps that Scream VI has managed to be more impressive than some other franchises that seem to be born for 3D. Outdoing some of the most recent Marvel movies in its usage of a premium format, Radio Silence's return to that favorite scary movie franchise has a little bit of a kick when you slide those shades on.

That's all for this blood-soaked entry of To 3D or Not To 3D, but it shouldn't be too much longer before we meet again. If my calendar is correct, the next big 3D thrill ride heading our way is The Super Mario Bros. Movie, which opens on April 5th. In the meantime, feel free to check out the To 3D archives, as well as our listing of 2023's new movie releases. I promise, I'll be right back before you know it.

Whether it’s shrinking, enlarging or any other sort of sci-fi/action weirdness, you can count on current and upcoming Marvel movies to pull some pretty neat visual stunts. Director Peyton Reed’s threequel Ant-Man and the Wasp: Quantumania is the latest adventure to trade in comic book excitement, complete with all the bells and whistles. Which means we’re yet again ringing that familiar bell that signals the time to ask the question, To 3D or Not To 3D?

If you’re wondering how the debut of the MCU's Phase 5 plays as a movie, you’re in the wrong dimension. Eric Eisenberg wrote CinemaBlend’s Ant-Man 3 review, so that’s the place you want to be if you’re interested in weighing Scott Lang’s latest exploits as a plot-driven experience.

However, if we’re talking about the 3D spectacle side of things, that’s just what the Avengers ordered. Please put on your 3D glasses, as we’re about to look at the big picture of Ant-Man and the Wasp: Quantumania’s Quantum Realm adventure.

FIT SCORE - 5/5 

Just like most Marvel Studios films since Thor first cast his hammer into the third dimension, Ant-Man is a legacy 3D franchise. Building a solid case for its fit in the premium format familiar to MCU fans, to have Paul Rudd’s mug winking at us in potentially eye-popping in detail is something we’ve come to expect at this point.

The fact that the Marvel movies have pretty much run a non-stop line of 3D releases since 2011 is to be commended, especially when competitors like the DC Comics movies seem to have abandoned the format. You can count on Marvel Studios to have premium packages such as these on display, whether they’re good or bad. Which is a judgement that is, as always, determined by the planning and effort put into the finished product.

PLANNING & EFFORT -  3/5

The 3D world of the world’s smallest Avenger has been a rather mixed bag, with the best results coming from the conversion of Ant-Man and the Wasp back in 2018. As has been the tradition for some time, SDFX Studios (formerly branded as Studio-D) is on hand yet again with Ant-Man 3.

To a certain extent, I should have expected some bugs that have been present since director Peyton Reed’s franchise starter to recur, which is exactly what happens with Quantumania’s trip to the Quantum Realm. At this point, I honestly don’t know how much one can really blame that studio for the faults this conversion possesses. 

Keep in mind, this is also the same studio behind the awe-inspiring 3D of Doctor Strange in the Multiverse of Madness, a project that even Marvel Studios president Kevin Feige admitted had a special focus on its 3D presentation. Alas, some major flaws cause this turn at bat to lose some vital points, with one particular field causing even more frustration. 

BEFORE THE WINDOW - 3/5 

Historically, the Ant-Man movies have had problems with the handling of thrills that pop out “Before the Window.” That doesn’t change with Ant-Man and the Wasp: Quantumania, despite the movie having a lot of elements it could potentially throw out into the audience, as only some select elements actually make the jump. 

Right from the start, Janet van Dyne (Michelle Pfieffer) and her fight with some rather nasty looking creatures had all of the hallmarks of in your face thrills. Just as quickly, those hopes are dashed, as the camera doesn’t linger long enough on these beasts to really convey that they’re heading straight for you.

What does work are some quick shots of guns, weapons and hands aiming out at the audience. Jonathan Majors’ Kang the Conqueror gets a taste of the fun as well thanks to his enraged attacks involving energy beams adding some visual color. If only the image on screen allowed Ant-Man and the Wasp: Quantumania’s kinetic action to actually come out and play on a more consistent level.

BEYOND THE WINDOW - 5/5

There’s no question that this MCU chapter takes full advantage of its depth of picture, and considering the recent movies in the saga, that’s a 3D blessing. The world of the Quantum Realm is a lush and deep canvas to allow Ant-Man and the Wasp: Quantumania to play out on, especially when traveling through realms is involved. 

I won’t go on too much about this specific effect, but moments of discovery and peril are heightened with the distance between characters and the chasm they’re staring into is properly shown. Plus, the spatial reasoning of characters and their environments is another top notch effort, as conversations and combat both show off the characters involved with just the right amount of separation. 

BRIGHTNESS SCORE - 2/5

Folks, it’s time to take the glasses off, both metaphorically and literally. 3D movies, and in particular the last couple of entries in the MCU, have had a massive problem with Brightness. Perhaps the most pronounced during Thor: Love and Thunder, it hasn’t gotten that much better with Ant-Man and the Wasp: Quantumania. In a movie where the color palette could be named “Forever Dusk, with a hint of Kool Aid,” your 3D glasses are going to put you into an unfortunate situation where darkness isn’t your ally.

Typically, this is where I warn you that your mileage may vary due to how well your local theater of choice maintains its projectors. It should also be noted that this screening was observed at the same location I’ve had issues with showings of Titanic 25th Anniversary and Spider-Man: No Way Home. But considering that chatter from press screenings had pegged Ant-Man’s latest as something that looked murky in 2D screenings, this is something I’d definitely lay on the fault of the conversion effort. 

GLASSES OFF SCORE - 5/5

While you have your glasses off, let’s talk about how Ant-Man and the Wasp: Quantumania looks when you take a look at its naked, blurry image. Meant to indicate how much the movie you’re watching has been manipulated, there’s a wide array of blur on display when you slip that facial furniture off of your eyes. 

Clearly the depths of this movie’s picture is the beneficiary of the blurred lines that unite under the lenses handed to you at the door. At any given moment, you can see subtle to major blurring, with the standard 2D elements intended to anchor those frames of fancy in reality. Ant-Man 3 doesn’t have a problem with its blur, so much as how it chooses to use it.

AUDIENCE HEALTH - 3/5

The good news is that you will not throw up during Ant-Man and the Wasp: Quantumania if you decide to see it in 3D. The days of people complaining about nausea seem to have left this premium format of exhibition, and it’s a good thing, as there’s lots of gorgeous action to be seen in Marvel’s latest. Some shots might be a bit quicker than I’d like, which again doesn’t allow the 3D to fully register, but it doesn’t feel like your eyes are going to wonk out.

You could practically read the next sentence out loud from memory, as the Brightness truly is the problem here. Low lighting for a consistent amount of time can lead to eye strain, and that leaves the audience tired after seeing Jonathan Majors stomping on Paul Rudd’s helmet like a madman. Keep that in mind when booking your tickets, as you may want to take a beat after your viewing to readjust to a world where proper lighting may or may not actually exist.

FINAL VERDICT: 26/35

Ant-Man and the Wasp: Quantumania feels like it’s taken the standalone series almost right back where it started when it comes to its 3D presentation. While Doctor Strange in the Multiverse of Madness’ perfect score is hard to compete with, the MCU’s recent trend of middling to sub-par conversions seem to make that particular effort look like an outlier rather than a game plan. 

If you have a theater that’s particularly mindful of its brightness, or if you can make it to one of those IMAX 3D showings that are increasingly difficult to seek out, you might get a little more punch in your particles. Otherwise, catching this one in standard 2D could be the more beneficial option. 

Ready for a plot twist? Our next expected venture into the 3D realm isn’t a superhero movie. While it doesn’t look like Shazam! Fury of the Gods will be showing with any third-dimensional enhancements, there’s a surprising stop that’s been added on our tour of 2023’s new movie releases. 

Join us in a couple weeks when Scream VI takes Ghostface to the unfamiliar territories of New York City and 3D! Until then, stay away from those supposed spoilers, and be sure to recycle your glasses in the bin outside of the theater.

Filmmaker James Cameron, one of the patron saints of the 3D format, wasn’t always able to use this format when crafting his iconic stories. Through post-conversion efforts on classics like Terminator 2: Judgement Day, fresh looks at his iconic filmography have been made available with third-dimensional enhancements for the modern world. Now, on the 25th anniversary of Titanic’s crossing into theaters, it’s time to ask yet again: To 3D or Not To 3D?

We’re not reviewing the 1997 romantic-drama classic, as we all know what to expect. Also, CinemaBlend didn’t exist in '97, so apologies if we don’t have some sweet low-res photos from the early days of the internet. But if you’re wondering about whether you should book 3D passage on the Titanic, or if you’re better off missing the boat, this is the place to be. 

FIT SCORE - 2/5 

Not every movie needs a 3D conversion because the action from a title like Titanic doesn’t necessarily scale into the third dimension in a worthwhile way. There are certainly moments that could look good in a 3D context, especially when the plot gets to the sinking of the ship. At face value, Titanic 25th Anniversary isn’t the best fit for a conversion effort.

That doesn’t mean it couldn’t be turned into a 3D thrill ride with the right approach. No Time To Die’s 3D version was a pleasant surprise that injected depth and fun into a movie that doesn’t seem outwardly ready for the format. Rather than Titanic 3D showing surprising advantages no one could have predicted, it’s a finished product that proves why this sort of conversion needs careful thought and consideration. 

PLANNING & EFFORT  2/5

For a movie that wasn’t shot with any intent to become a 3D spectacle, planning and effort is the true “make or break” point when even thinking of a conversion effort. With James Cameron being a proponent of the 3D format, especially through his work on the Avatar franchise, it might feel like this was going to be a slam dunk. This is especially true when adding the advertised 4K remaster into the mix, which was done for the 25th anniversary re-release.

It pains me to say that neither the 3D nor the 4K feel truly planned out. Through the efforts of SDFX Studios, Titanic 3D was originally converted back for the 2012 re-release into theaters. I’m not sure if there was another pass at the 3D conversion, other than supposedly upgrading it for 4K, but this looks like the type of product we’d have gotten in that time period. 

Not to mention, the picture quality didn’t look very 4K, even when merely compared to both Avatar and Avatar: The Way of Water’s use of that format in theaters last year. It’s not like Titanic was perfect in its first third-dimensional run, as our 3D review from 2012 cited some specific problems from back in the day. Those could have been improved upon for this new re-issue, but from what I’ve seen, it doesn’t look like any additional tweaking, 4K or otherwise, has been done.

BEFORE THE WINDOW - 1/5 

When you hear the words “Iceberg, right ahead!” in a 3D movie, you’re obviously going to expect that frozen foe to poke out of the screen. Or say there’s a scene where a ship’s officer is pointing a gun on the crowd; you’d want that to look like it’s in your face as well, right? Brace yourselves, folks, as Titanic 25th Anniversary has very little thrills in that way. 

Scenes involving guns and an iconic moment with the heart of the ocean are all that provide thrills that break the 3D window. Those pieces of entertainment are pretty scarce in Titanic, as again, this movie wasn’t meant to be an action spectacular that got the 3D treatment. Conversion can only go so far in cases like this, and even then the results are rather underwhelming.

BEYOND THE WINDOW - 3/5

There are moments where Titanic’s depth of picture feels endless, and there are times when it looks pretty cramped in the situations at hand. It’s not because of the changing visual scope of the movie, or at least it doesn’t feel limited to that, as plenty of other films have shown great 3D depth when showing something as simple as a conversation. 

An improvement over the dismal showing made in the Before The Window department, Titanic 3D does manage to have a decent sense of spatial reasoning. Watching Bill Paxton and his crew making the early dives to the wreck is an example of when feeling cramped works out, as it actually matches the setting. Save for huge crowd scenes, like the boarding of the ship, there are intermittent degrees of depth that never truly feel endless. 

BRIGHTNESS SCORE - 2/5

A good portion of Titanic’s third act takes place in the evening, where everything from brilliant fireworks to the rich blue hue that covers Rose (Kate Winslett) while floating on the door colors the scene. That’s after a good number of moments are shown in picturesque shades amber and pink through daytime scenes on the sailing ship.

A rich color palette inhabits this movie, and the 3D version robs it almost completely of its charm. Your mileage will vary depending on the theater you visit in order to watch the Titanic 25th Anniversary re-release. Not every multiplex maintains their gear to the same degree, which is key when shifting from 2D to 3D presentations.

At the theater I chose to watch Titanic, which was the same location I chose for the 3D review for Spider-Man: No Way Home, the picture quality was rather murky, especially during the more harrowing moments towards the end. Even when Rose is looking up in shock at the fireworks signaling for help, these visuals come off as too dark.

GLASSES OFF SCORE - 2/5

Dark picture quality can lead to the urge to remove your glasses during the show. That in turn leads to removing your glasses while enjoying a 3D movie, treating the audience to the potential blur that makes up the third-dimensional illusion. As such, I’ve gotten into the practice of flipping those glasses up and down during showings like this to see what sort of blur is present throughout the movie. What I saw with Titanic 3D was rather upsetting.

Wide shots seem to be the weakness in this part of the 3D experience, as James Cameron’s sweeping images of the ship at sail have hardly any blur to them. I’m not talking about the fine amount of manipulation that can sometimes be seen attached to specific elements. Rather, I’m saying that when I lifted my glasses during the long distance shots of the ship, it looked like there was no blur present at all. 

Portions of Titanic do have a nice degree of blurriness to them, and unsurprisingly, those are the moments that really play with the spatial reasoning of people sitting in a room together. Anything more open than that is a crap shoot at best. 

AUDIENCE HEALTH - 3/5

Darkness is not your friend when it comes to Titanic’s 3D re-release. While you’re not going to feel nauseous or any sort of physical upset, the strain might be felt on your eyes as you’re watching the movie. It got to the point where I think my eyes felt tired at the end of the movie simply because of how dark things get when you wear the glasses.

Action-wise, the motion of Jack and Rose’s romantic journey never janks out the picture. Scenes of rapid movement still move clearly and don’t wonk out your eyes like certain infamous moments in past 3D conversions would. The example that always comes to mind is when the Chitauri ride through the wormholes in The Avengers’ 3D showings. Save for some eye strain with the prolonged darkness of this presentation, Titanic won’t send your stomach for the lifeboats. 

FINAL VERDICT: 15/35

Titanic may have been the ship of dreams, but this 3D conversion is close to nightmarish. It feels like a relic from the old days of cash grabs, where anything could be given a brush pass to add some extra ticket revenue. Older movies may not always work out in the 3D realm, as seen with last year’s re-release of Jaws. The one advantage that movie had over James Cameron’s seafaring tragedy is that there was at least more of an effort at work when it came to that Steven Spielberg classic.

If the Titanic 25th Anniversary re-release was running in IMAX 3D, or even 2D IMAX, I might have been more inclined to suggest seeing it. However, this is a strictly 3D affair, and it only runs until Ant-Man and the Wasp: Quantumania takes over the premium format landscape in a week’s time. Unless you have a burning curiosity or know a place that you trust with your 3D viewing money, you shouldn’t feel obliged to make room on the door for this disappointing result.

James Cameron kickstarted the world of 3D filmmaking and exhibition with his work on 2009’s Avatar. For years after that seismic blockbuster’s release, the craze of converting and filming movies with third-dimensional enhancement became quite the regular occurrence. 

Without Avatar, we would not only be without The Way of Water, but we wouldn’t be asking our favorite and frequent question: To 3D or Not To 3D? We’re returning to the saga that started it all, as Avatar: The Way of Water could potentially spark another 3D revolution in theaters. 

If you want to read CinemaBlend’s official review of James Cameron’s grand return, that information is available elsewhere. Here and now, it’s time to see if Avatar 2 can revitalize the 3D market or if this premium format is dead in the water. 

FIT SCORE - 5/5

Could you even imagine having an Avatar movie that didn’t show in some sort of 3D format? It’d be as crazy as thinking the RDA wouldn’t return to Pandora for some payback in a long-awaited sequel. Times may have changed, but this franchise’s fit in the format that it helped boost into mass relevance has not dimmed one bit.

Avatar: The Way of Water is a natural match for 3D thrills, and the movie plays spectacularly in this format. As James Cameron doesn’t see this technology as a frivolous cash grab, he maximizes the bang for the buck with every frame. There are still some hiccups here and there in the quest to push the envelope, but this movie totally belongs in the 3D space. 

PLANNING & EFFORT - 4/5

A rarity in the 3D space nowadays, James Cameron shot Avatar: The Way of Water in native 3D, and at 48 frames per second. If you thought movies with a third-dimensional overhaul were controversial, then adding High Framerate scenes into the mix are going to make for some rather interesting conversations. 

It should also be noted that “select 3D conversion” was done by SDFX Studios, the firm formerly known as Stereo-D. For the most part, the new bells and whistles don’t hinder Cameron’s vision. That said, there’s some glaring issues that rob what should have been a perfect score.

Thankfully, the Brightness issue only seems to be an issue that depends on which 3D format you see Avatar 2 in. However, the HFR sequences are the major problem with this sequel’s premium presentation, as the “motion smoothing” look that sets certain sequences of fast-moving action apart is noticeable and disrupts the natural flow of the movie. 

BEFORE THE WINDOW - 5/5

How much of a rarity is Avatar: The Way of Water? I was able to see this film in not one, but two different 3D screenings. Observing the film in both Dolby 3D and IMAX 3D, I was able to take in the major premium formats that will be offering you those thrills behind the tinted glasses on opening day. As such, the scores you read will be for the Dolby 3D experience, though there’s one field where I’ll be including a special note for the IMAX 3D version. 

For the most part, the only difference is the size of the screen that IMAX offers, as the 3D is 90% similar between the formats. So you won’t miss out on the awesome Before the Window thrills that Avatar’s sequel offers. Nailing down the basics, you get your fair share of weapons and creatures poking out of the screen, just as you’d expect from any third-dimensional presentation of this caliber.

What really sets Avatar: The Way of Water apart from most 3D is that the Before the Window effect isn’t limited to just the usual suspects. Lighting effects are also heightened to great effect, with beams of light and tracer bullets shooting towards the audience’s faces. Even targeting reticles on various weapons play around with what pops out, in addition to how well the depth of picture is drawn in any given image. 

BEYOND THE WINDOW - 5/5

All hail Pandora, the deepest picture you’re going to get on the 3D market to date. Avatar: The Way of Water once again knocks the fundamentals out of the park, keeping its characters and environments clearly defined through keen spatial reasoning. However, this is a James Cameron movie, and Cameron prides the native 3D efforts taken by the directors who engage. 

The depths of the picture in Avatar: The Way of Water are astonishing and dazzling, especially when the action takes place in underwater sequences. Something as simple as looking up to the surface from below the waves actually manages to have the desired effect and then some. You truly see the distance to the surface, and that’s only the beginning. 

Atmospheric effects like embers, massive fire clouds and even computer displays all convey the depth needed to set up the environment you’re observing in expert clarity. With all of the beauty and wonder being explored in these new corners of Pandora, Avatar 2 isn’t skimping on the details on either side of the screen. 

BRIGHTNESS SCORE - 5/5

To watch Avatar: The Way of Water in Dolby 3D was like taking that first sweet sip of cool water on a hot summer day. The picture, even with the glasses on, was totally crisp and bright throughout the entire movie. Night scenes, underwater sequences with bioluminescence, frames filled with smoke and fire… all were shown with the same beauty and clarity, and that bioluminescence was especially powerful.

Unfortunately, if you’re planning to see this movie in IMAX 3D, you should take at least one point off of the Brightness score. As always, this is a crucial field that depends on how well your local theater maintains its projectors between showings.

Keeping these factors in mind, in the IMAX screening I attended, the usual dimness was added by slipping on the glasses required to see Avatar’s latest chapter in all of its 3D glory. It didn’t kill the buzz, but it did negate the larger picture size of the “optimized for IMAX” experience.

GLASSES OFF SCORE - 5/5

Do you like to take your glasses off and look at the blurry pictures that 3D presentations use to create those (potentially) magnificent optical effects? Of course you do, and you’d be lying if you said you didn’t. Just as it has in the factors we’ve discussed so far in this To 3D or Not To 3D evaluation, Avatar: The Way of Water does some amazing things with its blurry field of manipulation. 

Seeing double only covers a fraction of what you’ll see without your glasses, as some scenes show thick and fuzzy blur covering every inch of the screen. Some sequences still have those 2D touchstones that are required to anchor the rest of the thrills, and naturally a lot of those scenes happen to be shots that are more intimate in scope.

Even in those moments, a fine level of blur can be detected between those characters/objects and the heavier fields of blur. It’s almost as fun to spot as the 3D effects working their Avatar franchise magic. 

AUDIENCE HEALTH - 3/5

It was almost perfect, my friends. I should have known when the Avatar re-release introduced the new visual language that James Cameron was using for The Way of Water to his 2009 origin story for Jake Sully. The introduction of High Framerate visuals is both an impressive step forward, as it shows promise when used right, but also provides this movie with its greatest stumbling block. 

If anyone best understands the HFR game in the 3D space, it’s Ang Lee. Filming movies like Billy Lynn’s Long Halftime Walk and Gemini Man in 120 frames-per-second, he overcame the usual “soap opera effect” that gives movies in this format the motion smoothed look. Sadly, James Cameron only filmed Avatar 2 in 48 FPS, and the variety of speeds included in his finished film tops out at 60 FPS.

This variable FPS approach causes some visual confusion, as certain scenes on the higher end of the spectrum stick out like a cut scene in a video game. To provide a frame of reference, Cameron has run into the same problem as The Hobbit: An Unexpected Journey’s HFR 3D presentation had. 

As a result, your eyes are going to wonk out a little more than usual keeping up with moments like Jake and Neytyri’s date night flight on Pandora. Though on the flip side, water-based scenes and effects look positively stunning in HFR, so there’s obviously a learning curve that needs to be navigated during future Avatar entries.

FINAL VERDICT: 32/35

Avatar: The Way of Water, faults and all, reintroduces the world to what 3D spectacle was supposed to represent in Hollywood filmmaking. While the expectations for the continued story of this franchise can be debated by movie fans, the sterling presentation of third-dimensional thrills and spills cannot be denied. 

If it wasn’t for that damned High Framerate debacle, this would have been a perfect game. The fact that the risk was taken only makes the potential for the future that much stronger. But in the here and now, Avatar 2's execution of the bleeding edge of technology sees it swimming a bit too far, too fast.

Strangely enough, my score for Avatar: The Way of Water was only one point higher than the score CinemaBlend gave to Avatar’s 3D during its contemporary release. Though again, if you’re thinking of seeing this film in IMAX 3D, you’d be right on the same level as the first film’s fighting weight. With the advances in projecting technology, there are now more options than ever for 3D enjoyment. If you have a choice, my recommendation is to head straight to a Dolby 3D screening, and don’t look back. 

Hollywood has produced a large number of 3D movies ever since the technology was reintroduced into the marketplace, though you can likely count on one hand the number of movies that have properly used the tech as a narrative tool, thereby enhancing a moviegoer’s experience. We here at CinemaBlend go out of our way to review the 3D used in each new movie courtesy of our To 3D Or Not To 3D column. And it’s not just for new movies. Steven Spielberg’s classic Jaws got a 3D re-release as an incentive to lure audiences back into the waters… er, theaters. But of course, the 3D movie on everyone’s minds these days would be Avatar: The Way of Water, mainly because of the care and attention that James Cameron puts into his visual presentations, specifically in Pandora.

But when we sat down with James Cameron to discuss his new Avatar sequel, Avatar: The Way of Water, I casually mentioned to him that the last film to warrant a trip to the theaters for the 3D presentation was his 2009 groundbreaking feature Avatar. And the master politely disagreed, telling CinemaBlend:     

James Cameron cares. He pays close attention to every frame of his Avatar movies, so that when the 3D is graded by a critic, it receives excellent marks. And he’s right that the lazy post-production conversion of a 3D image onto a 2D shot can only create headaches, blur and additional problems, making mainstream audiences think that the 3D presentation isn’t worth the extra money. 

But if you are a filmmaker like Jim Cameron, Ang Lee, Martin Scorsese or Ridley Scott, and you are able to “author” your work in native 3D, then you will get high marks from audiences. And from Cameron. 

Audiences are prepared for James Cameron to reinvent 3D, the way he did back when Avatar hit theaters, for the anticipated sequel Avatar: The Way of Water. Early reviews sprung out of the movie’s world premiere in London, and so far, they are very favorable. Cameron, at the very least, gave you three recommendations of movies from his peers that blew him away, so start streaming. And if you want a great 3D movie to see in theaters while you wait for Avatar, we gave solid grades to Disney’s Strange World, so gather up the family and head on out!

Just when you thought the To 3D or Not To 3D train was going to be waiting in the station until December, along comes a new Disney release to keep the engine warm. Fans of this third dimensionally enhanced format might have something to celebrate, as the animated adventure Strange World is actually showing in 3D, despite the lack of advertisement! But do the adventures of the family Clade make for an exciting visual spectacle?

Is this fresh tale of discovery worth the extra 3D ticket money, or are you better off investing in some Pando crops for the winter? We’re about to find out, but before we do, don’t forget that you can check out our official Strange World review of the film before doing so. Now let’s slip on those special glasses, and take this family-friendly voyage into uncharted territory! 

FIT SCORE - 5/5

It used to be that the fit score was one of the easiest factors to either pass or fail in the To 3D test. That assumption was tested and called into question earlier this month, as Black Panther: Wakanda Forever’s 3D evaluation proved that there are actually cases where the fit score can be split. With Strange World, things feel like they’ve swung back into normal, as the film is a definitive fit for this format.

Taking its cues from ‘50s style sci-fi adventures, as well as throwing in a dash of Disney magic, the Clades journey into the center of Avalonia has a lot to potentially offer in 3D. In play are fantastic environments, new forms of life, and a sense of scale that could look amazing when done right. But does Strange World get it right, and if so how well does the final product look?

PLANNING & EFFORT - 4/5

The major advantage a computer animated film such as this carries is the fact that when you’re making a CGI film, you can naturally create a 3D version in the process. Unlike converting a live-action film into 3D through image manipulation, you can bake something like Strange World to include a premium format from the word go. Which is probably how and why the finished product is so likeable.

Disney has certainly been doing well with their animated 3D movies, as Lightyear previously aced the format with flying colors this summer. With a couple fields taking point deductions for some minor drawbacks, Strange World isn’t a perfect third dimensional thrill. That being said, it comes so close that it needs to be applauded. 

BEFORE THE WINDOW - 5/5

Before the Window is usually a field that benefits movies where tons of weapons and explosions come into play. If you land those effects, you’ve made it most of the way to perfection. Strange World plays with those very effects, and projects quite a bit into the audience’s lap, so to speak. 

However, what lands this segment’s perfect score are the touches that go the extra mile. The Clade family’s hairstyles are a good example of how Before the Window can truly enhance a 3D presentation. With the unique hairstyles of Searcher and Ethan are intriguing characteristic of both characters, the texture of their locks is perceivable when watching Strange World in 3D. 

There’s even pieces of the action where characters point out towards the screen, and it’s as projectile as Jaeger Clade’s trusty flamethrower! Even better, the flames that come from that weapon, and the various creatures of this universe, add even more atmospheric effects that are positively eye-popping.

BEYOND THE WINDOW - 5/5

Flipping to the other side of the window, going Beyond allows us to take a look at the depth of the picture being drawn by a 3D movie. In any movie, this factor has potential to show the world in films like Strange World with even greater detail. That’s putting it mildly, as Avalonia is a vast landscape of picture depth. 

Honestly, it kind of matches the whole “journey to the center” thing the movie has going for it. Landscapes see limitless depth, with characters properly separated from each other, as well as their surroundings. Something as simple as Searcher opening his door in the morning leads to fantastic examples of the spatial prowess at work, as you can look out of his house into forever.

There’s even a huge plot reveal that, in broadening the scope of Strange World’s story, actually broadens is visual spectrum at the same time. It’s quite possibly one of the most impressive 3D shots in the film, and potentially of the year. All I’ll say is if you keep your eye open, you’ll be able to see the bigger picture.

BRIGHTNESS SCORE - 3/5

Alas, we come to the segment of Strange World’s 3D presentation that takes the greatest hit. If you were expecting the brightness to be a bit of a problem, you are indeed correct. As usual, an important caveat applies as it’s not totally the fault of the team adjusting the brightness of the film itself when such a factor fails. Depending on how well your theater maintains their projectors during 3D showings, your mileage will vary on the brightness factor.

In terms of the screening observed for Strange World’s 3D evaluation, the brightness was a stronger variant of the usual grey you’d expect from watching a movie through tinted glasses. The picture overall is still watchable, and the beautiful detail of that world isn’t lost in the shuffle with a heavy dimming effect in play. But when you slip your glasses off, you can see how much crisper this movie could look if the brightness was properly calibrated. 

GLASSES OFF SCORE - 5/5

Speaking of taking your glasses off, it’s time to admit that you still slip your shades up from time to time during a 3D movie. It’s hard not to, as looking at the blur is part of the fun when taking in this format’s splendor. However, it also hints towards how good a 3D presentation for a film like Strange World turns out to be. Typically, great amounts of blur mean a pretty extensive amount of work has been put into making that 3D image really pop. 

Looking at the blur in this screening, that formula checks out, as there’s a wide array of blur levels present throughout the entire picture. Strange World even has fantastic examples of characters and objects acting as 2D anchor points, while trailing off into deeper levels of blurriness the further your eye wanders into the picture. Matching the eye-popping thrills before and beyond the window, the blurriness of Strange World signals a very strong overall 3D product.

AUDIENCE HEALTH - 4/5

In our final field of 3D evaluation, we take a look at what the overall product does to the health of a typical audience member. Third dimensionally enhanced presentations have had a history of causing nausea and eye strain in the past, so it’s always important to keep tabs on how movies like Strange World fare in that respect. Thankfully, there’s only a minor point deduction when it comes to how this film physically effects its viewers. 

Some sequences of fast moving creatures flowing like a current have a bit of a wonky effect, as the eye finds it hard to pick which piece of the action to focus on. It’s a problem restricted to select moments, but it’s noticeable and persistent enough that it needs to be noted. Other than that, there’s no horrific levels of eye strain that cause the audience to feel tired or frustrated with watching Strange World in 3D; which is good because it’s a terrific option for seeing this exciting adventure romp!

FINAL VERDICT: 31/35

The work that Walt Disney Animation Studios has done on Strange World is something beautiful to behold. Delivering a 3D presentation that is as exciting as the material it’s portraying on the screen, the movie is even more of an adventure worth taking when doing so in the third dimension. Though times may be scarce, and the advertising for the format’s inclusion is non-existent, Strange World is worth putting the extra effort into seeking out. 

Now we can bid farewell until Avatar: The Way of Water potentially revives the 3D format with its blockbuster release. Judging by the slate of trailers that were shown enhanced by the format, there’s definitely some 3D thrills to look forward to in 2023’s new movie releases. Until next time, please remember to recycle your glasses in the bin at the door, and make sure that you aren’t tracking any rogue Splats out of the theater on your way home.

With every new Marvel movie that arrives in theaters, a potentially earth-shattering spectacle awaits. In the case of director Ryan Coogler’s Black Panther: Wakanda Forever, that visual delight is paired with great sadness in a movie that tackles the fantastical along with the theme of grief. 

Just as Wakanda is forever, so is the moment where the Marvel Cinematic Universe prompts us to ask that important moviegoing question: To 3D or Not To 3D? Should you be interested in reading our Black Panther: Wakanda Forever review, that assessment is waiting outside of these walls. 

As of this moment, we’re about to discover whether this new MCU movie is worth your extra 3D ticket money, or if you’re better off investing in Riri Williams’ future workshop. Let’s slip on our glasses and see what the latest Black Panther movie looks like in the third dimension! 

FIT SCORE - 3/5

Previously in the Marvel Studios’ theatrical experience, we saw Thor: Love and Thunder’s 3D showings underwhelm when it came to the total experience. So naturally, that’s going to serve as one of our benchmarks for what to expect out of Black Panther: Wakanda Forever. As usual, the assumption is that a high flying movie of heroics and action such as this would fit the 3D format like a Panther in their armor.

There are definitely moments that suit the 3D approach to Black Panther’s sequel, but director Ryan Coogler’s latest isn’t a typical wall-to-wall action spectacle. A lot of time is spent on character moments, and while those can look fantastic with the right 3D, several factors limit that from actually happening. 

PLANNING & EFFORT - 3/5

With a sequel like Black Panther: Wakanda Forever, it’s not just important to keep the series benchmarks in mind when evaluating 3D. Since this is our second solo trip to Wakanda, there’s also the previous Black Panther’s 3D performance that weighs heavily as a touchstone for improvement, or lack thereof.

The Planning and Effort on Black Panther 2 is, sadly, middling. SDFX Studios, the company formerly known as Stereo-D, is back on the case as Marvel’s 3D conversion provider. The studio’s work can be hit or miss, which feels like a given considering how the MCU releases several films into theaters in any one year. This just happens to be one of the movies that falls into the "Miss" column.

BEFORE THE WINDOW - 2/5

Before the Window lies a world of images, objects, and people that pop off of the screen. Comparatively, Marvel Studios excelled in this field earlier in the year through the premium presentation of Doctor Strange’s sequel. As I mentioned before, it’s a mixed bag in the world of the Marvel Studios franchise and its 3D amazement, and this is only the start of where things could have been better.

There are scare thrills to be had when it comes to objects coming out of the screen in Black Panther: Wakanda Forever. While this is a very talkative movie, there are some moments where weapons poke past the screen’s borders and into your personal space. 

Just like Black Panther, the spears of the Dora Milaje are a highlight of this very factor. Rather than acting like a key ingredient of this 3D conversion, the Before the Window thrills are more like sprinkles added in here and there. Even then, it feels like there's too little in the mix. 

BEYOND THE WINDOW - 3/5

The world can provide limitless backgrounds for a 3D conversion, no matter where you go. It almost feels like that sentiment can apply even moreso to grand spectacle movies like the MCU, or any large blockbuster you can think of. Black Panther: Wakanda Forever doesn’t seem to have gotten that memo, as the depth of picture is shockingly shallow. 

In scenes like Queen Ramonda’s address to the UN towards the beginning of the movie, you can note the distinct separation of characters and their environments. That being said, the background is really where this feature fails, as it rarely feels like you’re looking into something truly deep. Namor’s underwater kingdom of Talokan is the grand exception, as the entire 3D conversion feels like it comes to life when going under the sea. It’s just the stuff that’s above the waves that tends to look rather dull.

BRIGHTNESS SCORE - 3/5

Ah, the Brightness score, also known as where most 3D movies go to disappoint. If there’s anywhere that Black Panther: Wakanda Forever, or any other third-dimensionally-enhanced movie tends to skate uphill, it’s here. The blame isn’t totally on the filmmakers, as the picture quality does mostly depend on whether the theater you’re visiting properly maintains the calibration of its projectors.

With Black Panther 2, the results are not as crisp and clear as they should be. Darker nighttime battle scenes are a murky grey that’s still watchable, but still quite annoying. And as much as Talokan is a sight to behold, those moments suffer from the lack of brightness in the picture as well. Which is a shame, because the bioluminiscence and neon-colored lighting Black Panther has traded in previously both take a hit as a result.

GLASSES OFF SCORE - 2/5

Usually when you take your glasses off during a 3D presentation, there’s quite a bit of blur to behold. That’s the typical signal of how much the picture has been manipulated to create the effects that should turn Black Panther: Wakanda Forever into a third dimensional beauty. It’s a shame there just doesn’t seem to be much of that magic at work this time out.

Even through scenes like Queen Ramonda’s grand speech, the blur is mostly relegated to the background throughout the entire movie. The blur that is present is of weak quality, making the usual 2D anchor points of any given scene look all the more flat. Gone is a healthy level of image manipulation that forms a cohesive whole, which would explain the lack of depth or projection in the 3D variant of Black Panther 2. 

AUDIENCE HEALTH - 3/5

The best thing I can say about Black Panther: Wakanda Forever’s 3D conversion is that it’s still watchable. Though the fast-paced action can sometimes create an image too busy for good 3D, you’re not going to get motion sick or feels any sort of nausea. Then again, the medium of 3D filmmaking has gotten to a point where that seems to be a rare concern.

Dimness of picture is the true enemy here, but even with such a washed out image, you’re not going to feel the sort of eye strain that tires you out. That’s especially important, as Black Panther’s big sequel is almost three hours long. You might be annoyed by the shortcomings of the 3D product on display, but at least you won’t get sick over it.

FINAL VERDICT: 19/35

Black Panther: Wakanda Forever is a bummer when it comes to making the 3D choice. The format seems to be in a holding pattern, with Avatar: The Way of Water looking to potentially revitalize the market in that respect. The pressure is even greater for that fellow Disney release to perform, as another Marvel Cinematic Universe offering has fallen short in turning out 3D thrills worthy of the extra time.

Still, if you are a 3D loyalist, be sure to pick a theater you trust with handling the format properly. That knowledge will be even more valuable as we get closer to the release of James Cameron’s long awaited sequel, which looks to be the next time we’ll meet to work through another To 3D or Not To 3D adventure. Until next time, don’t forget to recycle your glasses on your way out of the auditorium or just give them a good cleaning if you decide to keep them for your next trip across the third dimension.

When Avatar was released in 2009, it helped revolutionize modern 3D movies, with just about every major blockbuster in its wake for years released with the option for audiences to watch with an extra dimension. Much has changed in the cinematic world since those times, with the format not getting nearly the same kind of hype that it once did – but according to James Cameron, that doesn’t mean people should perceive that 3D movies are “over. Instead, they’ve simply been normalized to the point of not being particularly special anymore.

With a new remastered cut of Avatar set to arrive in theaters later this month, James Cameron, producer Jon Landau, and the stars of the film gathered together today for a virtual press conference, and during the event, I took the opportunity to ask the director about the influence of the 2009 movie on modern blockbusters. Cameron spoke to how the world’s perspective on 3D has changed greatly over the last decade, and noted that it hasn’t gone away so much as it has become a normal thing. Said the filmmaker,

Continuing, James Cameron compared the public’s relationship with 3D movies to the way that that the film industry changed with the introduction of color. At first there was an extreme thrill seeing something different than the standard black and white presentation, but that thrill went away as every movie started to be made in color:

Of course, the influence of Avatar isn’t just seen in the way in which it impacted the way we watch movies; it also changed the ways that movies are made. James Cameron was humble enough to note that his 2009 film was hardly the first to make extensive use of advanced visual effects, but he did note that it successfully changed industry perspectives on digital cinematography – most notably with key wins at the 2010 Academy Awards. Said Cameron,

The movies to which James Cameron is referring are Christopher Nolan’s Inception, Martin Scorsese’s Hugo, Ang Lee’s Life Of Pi, and Alfonso Cuaron’s Gravity. Like all Nolan directorial efforts, Inception was shot on film, but the other three were all made on digital and, as noted by Cameron, were released theatrically in 3D.

Studios marketing movies don’t push stereoscopic releases like they used to, but the format is still very much an option for audiences at their local theaters, with a number of the biggest films from the past summer being released in 3D – including Doctor Strange In The Multiverse Of Madness, Thor: Love And Thunder, Jurassic World Dominion, and Minions: The Rise Of Gru. Of course, the big 3D movie coming up at the end of the year is James Cameron’s Avatar: The Way Of Water, and he expects that the film’s performance will say a lot about the original film’s pop culture influence:

With the potential to revitalize the 3D market, Avatar: The Way Of Water will be arriving in theaters on December 16 (read more about it in our Avatar 2 What We Know So Far guide), but fans of the budding franchise won’t have to wait that long before taking another trip to Pandora on the big screen. The aforementioned remastered cut of Avatar will be playing in theaters starting September 23, and tickets are on sale on.

To discover all of the films coming out between now and the end of the year, check out our 2022 Movie Release Calendar.

There is a creature alive today who has survived 47 years of cinema history without change, with quotable moments of dialogue and in the face of some infamous sequels. Thanks to both new IMAX and 3D versions released into theaters for a week-long engagement, Jaws is back to thrill audiences and fans alike in two new formats. 

You can see where I’m going with this, as it’s now time to ask that beautiful question: To 3D or Not To 3D? If you want our assessment of Jaws as a movie, you can actually read our official Blu-ray review from back when Steven Spielberg’s iconic thriller first arrived in HD. Otherwise, it’s time to find out if your 3D money is put to good use or if you’d be better off investing in a bigger boat.

FIT SCORE - 2/5

I’d like to put one thing out there before we begin: this is Jaws in 3D, not the infamous Jaws 3D. Although I’d love to see how a modern refresh would enhance the camp value of that oddity, that’s not what we’re here to discuss. The one, the only, the original, Jaws is a movie that puts a lot of time and energy into ratcheting up the tension of the ever lurking shark. 

That being said, this isn’t a movie built for 3D, and it’s no one’s fault that Jaws isn’t the best fit for a third dimensional overhaul. Honestly, the third act on the Orca seems to be the place where this format fits the best. If we were still in the days of IMAX 3D releases like Superman Returns, we might have seen Jaws given the classic “select sequences in 3D” treatment . Alas, the film on the whole isn’t exactly a 3D playground.

PLANNING & EFFORT - 4/5

Jaws is one of the best cases of working with what you’ve got. Mostly devoid of the typical 3D-friendly angles one would work with, the conversion done by Stereo-D has added quite a bit of pizzazz in ways that one wouldn’t normally think to do so. Also, for an almost 50-year-old movie to look this smooth in 3D, with some minor hiccups, is a feat in and of itself. 

While Jaws isn’t the most natural fit, there’s enough excitement added to make its third dimensional enhancements an intriguing experience. It's quite surprising that in a year that's given us shear perfection like Doctor Strange in the Multiverse of Madness' perfect 3D effort, Jaws manages to still be able to stand pretty confidently in the format. Unfortunately, two major sections take the biggest hits in this premium re-release, and one is a stone cold bummer. 

BEFORE THE WINDOW - 2/5

One of the greatest shortcomings of Jaws’ 3D conversion is the Before the Window factor. In this classic segment where we evaluate just how much pops out of the window, I hate to be the bearer of bad news. The majority of Steven Spielberg’s classic just doesn’t pop out of the screen all that much, and the stuff that does is pretty standard and repetitive.  Brace yourself for a lot of guns and spears poking out into the audience, as those seem to be the most window breaking elements Jaws has to offer. 

There’s one moment of Roy Schieder’s Chief Brody pointing into the audience’s face that also works, but again, this isn’t exactly a film built for 3D optimization. Although, the scene where Bruce the shark breaks into the Orca’s cabin would have been a perfect moment to break some Before the Window thrills into the picture. Sadly, that’s not in the cards, as the effect falls pretty flat. Not all 3D movies can be like Jurassic World Dominion and contain eye-popping dinosaur thrills.

BEYOND THE WINDOW - 5/5

On the other flipper of the menacing sea beast, Jaws has some of the best Beyond the Window work I’ve seen in quite a while. In fact, this is the feature that most capitalizes on the 3D format, as the conversation heavy film is drawn with great depth and spatial reasoning. 

A firm example of how Jaws makes this factor work is the initial scene where Chief Brody and Mayor Larry Vaughn (Murray Hamilton) share their first conversation on an Amity Island ferry. Not only do we get the limitless backgrounds in this 3D conversion, but the level at which people are placed into any scene of multiple characters is astounding. Constantly showing us the world of Jaws in stunning detail, Beyond the Window thrills are the star of this show.

BRIGHTNESS SCORE - 3/5

For once, the Brightness score has a perfectly good reason to be dinged a couple of points. While the usual caveats still stand, Jaws has always contained scenes of low-light that obscure the audience’s view. This, paired with the usual suspects, makes for a bit of a mixed bag when it comes to visual clarity.

If you go to see Jaws in 3D, you’ll still want to make sure you see it at a theater you trust to keep their equipment maintained. For this viewing, the majority of the movie was nice and clear, with minimal dimming through the glasses required to create the 3D effect. This premium re-release isn’t killed by this factor; but you’re absolutely going to feel the lack of lighting in those darker moments. 

GLASSES OFF SCORE - 5/5

You’re always going to be tempted to take your glasses off during a 3D movie, and if you’re not, you’re a liar. Jaws especially makes itself a case to invite such behavior, as format connoisseurs are going to want to see how good of a job was done on this conversion. Thankfully, the blur that manipulates the images in this case manages to stand out. 

Even more impressive is the fact that Jaws doesn’t just use center-standing character for all of its 2D anchor points. Some crowd scenes will have a person off to the side doing that heavy lifting. Not to mention that if you enjoy noticing those moments where a piece of the image shifts through levels of blur in the moment, you’ll be quite pleased with this film.

AUDIENCE HEALTH - 4/5

In the face of greater dimness being contained in moments of Jaws’ 3D adventure, there isn’t a huge level of visual strain or wonky images. Even moments of people running through crowds of panicking beachgoers doesn’t seem to fail the audience, further highlighting that a movie released 47 years ago can still be touched up with fantastic third-dimensional  aspects. 

There are a couple of moments though where the picture kind of wonks out. Also, the soft, blurry nature of Jaws’ daytime imagery does play a little bit of havoc on the 3D effect overall. These are minor quibbles though, as no one’s going to get seasick over this boat trip. 

FINAL VERDICT: 25/35

If I were to make a recommendation for which Jaws premium experience to choose, I might lean more towards the IMAX experience. Though I haven’t seen it myself, the quality sound system and larger image feel more adept at enhancing Jaws’ blockbuster thrills. Having said that, it’s not a total waste if you see the 3D version. Just go in knowing that it’s more subtle than you’d think, and the real dynamite pops up towards the end of the film. 

That’s all for this edition of To 3D or Not To 3D, However, I’m excited to say that we won’t have to wait that long to reunite as friends and fans of the third dimension! This September’s re-release of Avatar in a remastered 4K HDR variant is also going to include a 3D rollout. Plus, Black Panther: Wakanda Forever is also on the horizon, as is the possibility of an eye-popping version of Black Adam in October. Until next time, please recycle your glasses and just keep swimming! 

Everybody’s ready to welcome Chris Hemsworth, Tessa Thompson, and Natalie Portman back to theaters with Thor: Love and Thunder. The Marvel Cinematic Universe’s return to the realm of the box office has been awaited long enough, and thankfully that means there’s some very important questions to ask. One of the most pressing is, as you’ve already guessed by now, To 3D or Not To 3D?

If you’re looking for the official verdict on this latest MCU chapter as a film experience, feel free to read Eric Eisenberg’s official Thor: Love and Thunder review. However, if you’re ready to see if you’re better off spending the 3D ticket money on a pair of magical screaming goats, this is the place to be. Let’s put on our glasses, and call down the thunder on Taika Waititi’s latest Marvel movie.

FIT SCORE - 5/5

Thor is not only one of the OG franchises in the Marvel Cinematic Universe, it was also the first Phase 1 movie to bring 3D thrills to the table. From that point, the rest of this stand-alone franchise and its theatrical siblings would regularly engage in this premium format. So historically, Thor: Love and Thunder is a fit. 

Practically, Taika Waititi’s latest excursion into Asgardian lore also presents itself as something that fits within the world of the format. On a visual level alone, seeing mythical weapons, showboating thunderbolts, and even debris flying at the audience prove that Thor: Love and Thunder is a clear fit for this medium. However, that doesn’t mean the execution lives up to the intent. 

PLANNING & EFFORT - 3/5

The impressive 3D of Doctor Strange in the Multiverse of Madness is a high water mark for the current run of MCU movies. As Kevin Feige flat out admitted that it was the first Marvel film in a while that consciously aimed to maximize its third dimensional output, I thought this would be a sign of things to come. While Thor: Love and Thunder isn’t a complete disappointment, it’s certainly not on the same level as that previous 3D outing in the MCU.

Stereo-D is back at it with the conversion efforts for this latest Thor adventure, as they’re pretty much the lab of choice for Marvel’s cinematic efforts. The good news is that we’re still treated to a decent 3D experience through Love and Thunder, with some standout moments scattered throughout. However, with one very specific character feeling like they're almost erased from certain scenes, it's an experience that's unfortunately lacking.

BEFORE THE WINDOW - 3/5

Watching the 3D trailers for Thor: Love and Thunder, I got a good idea of what sort of elements I would be looking for as potential third-dimensional standouts in the Before the Window category. Through this entire series, Chris Hemsworth’s mighty weapons flying through the air have been somewhat of a highlight. As such, one could expect more of the same flying out of the window and into the laps of the audience in Love and Thunder.

It works to a certain degree, especially with Natalie Portman’s Jane Foster using her re-assembed Mjolnir to split apart and take on several foes at once. Also, Bifrost travel and Thor’s own lightning attacks with Stormbreaker make for some rather neat thrills that poke out at the audience; as well as subtle moments of characters pointing out to the camera. Again, consistency is what knocks this score down, as moments that look like they’re primed to stick out, like say Zeus’s showboating with lightning bolts, never fulfill their true promise.

BEYOND THE WINDOW - 4/5

Faring better in the overall 3D conversion of Thor: Love and Thunder is the Beyond the Window aspect, which draws the picture’s depth. This is a more consistent area of play, as some pretty wide vistas of view are presented in the various locales visited. As such, the depth drawn is pretty successful, but stops short of the limitless nature places like Omnipotence City should be displaying. 

Despite that reservation, characters are well drawn and distanced from their environments and each other. A crucial battle scene, in which a group of children are pitted against an army of shadow monsters, is a good example of where this factor works best. Though it’s not perfect, this Thor movie gets depth and distance right pretty much throughout the movie.

BRIGHTNESS SCORE - 2/5

Brightness is the perennial thorn in the side of any 3D conversion effort. Slipping on a pair of polarized grey and black lenses automatically dims the picture you’re about to see, so this is a factor that always needs some special attention. Unfortunately, this is a specific factor that seems to have been let down in Thor: Love and Thunder, especially when it comes to one character in particular. 

Certain scenes with Gorr the God-Butcher are set in pretty dark settings, which is compounded by the fact that Christian Bale’s villain has a stark black and white quality to his person. This led to Gorr almost disappearing from certain sequences of night and low lighting, which was totally frustrating. As for the rest of Thor: Love and Thunder, the highly colorful and sometimes soft focused visuals were done dirty by the dimmed quality. 

Even scenes with colorful alien races accompanied by the Guardians of the Galaxy didn’t pop like they should. It’s a small consolation, but at least the really bright scenes managed to look somewhat normal. As always, your mileage may vary in this aspect, as it really depends on how well the theater you frequent calibrates their equipment. In this case, the screening observed for Thor: Love and Thunder was annoyingly dim, washing out the unique colors that are supposed to glow off of the screen.

GLASSES OFF SCORE - 3/5

The degree of blur that’s present when you take your 3D glasses off is usually indicative of how much manipulation went into presenting the images on the screen. Thor: Love and Thunder has a case of visual blurring where it mostly occupies the backgrounds, with some blur bordering the edges of characters acting as visual anchor points. That’s fine, but it’s rather standard, even when it comes to the wildly uneven 3D results coming out of the MCU.

While the 3D effects are still very much present, there are some moments where it’s hard to pick out if there’s any blur in the first place. Love and Thunder has some scenes that feel more blurred than others, which may lead to the inconsistent usage of Before/Beyond the Window thrills. 

AUDIENCE HEALTH - 3/5

Thor: Love and Thunder won’t give you nausea, nor is it a totally taxing experience on your eyes while watching. Those comforts are simple, but pretty relevant while watching a 3D presentation in a theater near you. Although, when it comes to the sake of your eyes, this is a format you might want to skip; if only for your own sanity.

Between the frustration of Gorr the God Butcher playing a near disappearing act in special scenes, the dimness of Thor 3 sticks out throughout the movie. There seemed to be a significant bit of strain when it came to watching this 3D picture. While it wasn’t enough to wonk out the picture totally, you may find yourself feeling tired because of the extra work you have to do to observe the dimmed picture that results. 

FINAL VERDICT:  23/35

Thor: Love and Thunder’s 3D presentation just might be the worst one in Phase 4 yet. The handling of Gorr the God Butcher alone has seen this movie edge past not only the disappointing 3D score for Black Widow, but also the previous low point that was known as the Eternals 3D experience. There’s always the potential for the IMAX 3D version to be a marked improvement, as I noted with a post-evaluation screening of Jurassic World Dominion. However, with limited showings in what’s becoming a unicorn of a format, I’m not sure if I’ll be able to test that theory out this time around.

If you’re going to see Thor: Love and Thunder, you’re better off holding out for the IMAX 2D or Dolby experience. But if you’re dead set on 3D, I’d make a cautious but untested recommendation of seeking the IMAX 3D showings in your neighborhood. As for what title we’ll next be evaluating the wonderful world of 3D, I’m not quite sure when we’ll meet again. 

While we have Avatar: The Way of Water potentially reviving this niche market, that won’t be hitting screens until December of this year. But I’ll be keeping my eyes open, waiting for that next trip to the third dimension to present itself. At which time, you can bet we’ll meet back here and ask ourselves, yet again, To 3D or Not To 3D?

Audiences are about to see yellow yet again, as Minions: The Rise of Gru is currently showing in a theater near you. Family fun is in the cards for those who seek it, provided you’re ready to return to the Despicable Me world. Which means there’s plenty of room to ask one of our favorite questions to cover: To 3D or Not To 3D?

If you want to learn more about how the movie itself works as an experience, you can read our official review of Minions: The Rise of Gru and get my take on that matter. But is this sequel worth spending the extra 3D ticket money, or are you better off bidding on a vinyl copy of Linda Ronstadt’s “You’re No Good?” That's what we're about to discuss as we slip on our glasses and prepare to 3-do this thing!

FIT SCORE - 5/5

The Despicable Me saga is one that’s been built for 3D since the beginning, as every entry has been presented in this premium format. The series has made itself open to the format from its earliest days to its current potential resurgence, so knowing that Minions: The Rise of Gru was going to be in 3D was a given. Which is good, because the improvement in the series’ handling of this format seems to be a good sign of studios taking it more seriously.

PLANNING & EFFORT - 4/5

To be completely honest, the Planning and Effort on Minions: The Rise of Gru was something I could spot quite early on. Having the chance to see the film in 2D beforehand, it was hard not to notice that Belle Bottom’s big motorcycle chase in the opening was built to be shown in this format. The rest of the film lives up to that hype rather well for the most part, but at the very least, the overall product is an improvement from Minions’ 3D showing back in 2015.

BEFORE THE WINDOW - 4/5

Compared to its predecessor, Minions 2 has improved in some places, but maintained inferiority in others. This entry is still superior to Despicable Me 3’s 3D results, especially when it comes to Before the Window thrills. From time to time, there’s a good usage of throwing objects and firing weapons into the audience’s proverbial laps. 

With that in mind, the effect isn’t used as much as it could have been throughout Minions: The Rise of Gru. One moment, Gru looks like he’s dangling over the audience, but the next, the guns being aimed at enemies on screen are positioned in a less than optimal fashion. Before the Window thrills are decent on this one, but not perfect.

BEYOND THE WINDOW - 4/5

Perhaps the greatest improvement that the Minions series has made in its 3D presentation, the Beyond the Window factor actually shows much more depth than in its 2015 predecessor. San Francisco in particular looks gorgeous and deep thanks to its iconic hills playing a part in the Minion mayhem. The total effect comes up a bit short, but works for the most part. 

As for the standard Beyond the Window protocols, characters and environments are definitely defined. Letting your eye wander around the screen, you can even see the depth crafted in something as simple as a crowd of Minions in Gru’s basement. It may not go the extra mile, but Minions: The Rise of Gru steps up the game of this particular 3D illusion within its own series.

BRIGHTNESS SCORE - 3/5

For as colorful and vibrant the world of Minions: The Rise of Gru happens to be, the brightness factor of the showing observed was more of a disappointment than usual. When putting on your 3D glasses, you’d naturally observe a slightly grayer picture through the polarized lenses. 

While this isn’t as washed out as other inferior 3D products may be, especially since night scenes can still be enjoyed without too much loss, there’s a noticeable murkiness in darker lit scenes. As always, your mileage may vary depending on the theater you choose to visit. In this case, Minions: The Rise of Gru lost quite a bit of the sunshine it’s promising to turn back on. 

GLASSES OFF SCORE - 5/5

Should you remove your glasses during a 3D presentation, you’d be able to see the typical visual blurring that is indicative of the image being manipulated into a third dimensional product. With Minions: The Rise of Gru, the blur factor is plentiful throughout the movie, with the standard 2D anchor points co-existing with a wide range of blurred elements. 

AUDIENCE HEALTH - 5/5

There is a lot of fast-paced action in Minions: The Rise of Gru that could potentially wonk out the eyes of unsuspecting audience members. Otto’s super-speedy big wheel voyage alone had the potential to add some problems to the 3D visuals. Yet not even the dimming of this very bright and colorful world manages to make it unwatchable. Action is shown in a way that’s clear and easy to follow, without eye strain or nausea as much of a concern.

FINAL VERDICT: 30/35

In the grand scheme of the franchise, Despicable Me 2 is still the 3D champ. Outside of that caveat, Minions: The Rise of Gru is enough fun in 3D to recommend it over a standard 2D showing. Even though I'm not a fan of this movie, I can admit the fact that there was a clear amount of love put into the 3D conversion of this computer animated comedy. 

Something else I've noticed is that while the number of 3D releases seems to be slowly, but surely increasing, the quality seems to be improving as well. Here's hoping that good fortune applies to next week's big spectacle, as Marvel Studios is returning to the third dimension with Thor: Love and Thunder. Could it be another eye-popper like Doctor Strange in the Multiverse of Madness's 3D showstopper, or are we looking at another Eternals style letdown? Time will tell.

In 1995, Andy from the Toy Story saga saw what would become his favorite movie and ultimately asking for the toy from that high flying adventure. The film was Lightyear, and in the universe it exists in, it’s hard to believe that it would have been shown in the 3D format. But we’re not in that universe, are we? Nope, and that means the archives of To 3D or Not To 3D are about to get a little fuller. 

If you want to learn more about how the movie itself works as an experience, you can read our official review of Lightyear and get my take on that matter. Otherwise, it’s time to learn if it’s worth spending the extra 3D ticket money, or if you’re better off pre-ordering a talking Sox toy. All pre-flight checks are now complete, as it’s time to see how Disney/Pixar’s latest measures up in the third dimension!

FIT SCORE - 5/5

Historically, Disney/Pixar remained one of the more frequent purveyors of 3D thrills, though 2020’s Onward was the last Pixar 3D experience on the books. That’s probably due to Lightyear being the first wide theatrical release from the company since the pre-pandemic era. Adding in the fact that the Toy Story franchise has been offered in this format since the 3D release of 2010’s Toy Story 3, a more realistic approach to the action and whimsy of Buzz Lightyear is indeed a fit for proper 3D presentation. 

PLANNING & EFFORT - 5/5

Do you know what one of the best parts about computer animation is? If you want to craft a 3D version of a movie like Lightyear, you can do so straight from the source. Disney/Pixar tends to keep that process in-house, which hasn’t changed on this film, and it seems to make a difference when it comes to Planning and Effort. Thanks to a dedicated team that has intimate knowledge of the production in its 2D phases, Pixar’s P&E game is pretty top notch. Every inch of Lightyear proves that fact unequivocally, as save for a minor bump, everything else is pretty perfect.

BEFORE THE WINDOW - 5/5

In the best cases, the Before and Beyond the Window components of a 3D visual can go hand in hand. If the two align perfectly, it leads to a fully immersive third-dimensional enhancement that does a lot for a film’s presentation. Lightyear has the good fortune of being such a movie, and in the case of the Before the Window aspect, it’s absurdly impressive.

Everything from fog and sparks to laser guns and the beams they shoot jumps out at the audience. Also, if you loved Sox the robot cat before seeing Lightyear, his array of added features shine. Laser scanning, blow darts and even a flashlight all project out, as well as deepen the picture's depth. 

Better still, there are moments of action containing explosions, hands on grappling hooks, and robots punching through walls that are so good, I actually jumped. Having seen this movie in 2D prior to my 3D screening, the experience counts for something. But if there’s one thing I have to credit Lightyear with doing best, it’s the movie’s depiction of Hyperspace.

BEYOND THE WINDOW - 5/5

Hyperspace is one of two bridging aspects that sync up Lightyear’s Before and Beyond the Window aspects. Taking advantage of the “Before” side, Buzz’s ship pokes out even more in as space stretches in reference to his relative speed. Meanwhile, the “Beyond” side of things sees that space showcasing even greater depth to the picture at hand, enhancing the already dazzling colors.

That’s on top of the normal course of action being displayed perfect field of depth. Separating characters and objects from their environments is one thing, which Lightyear totally nails. Beyond that, there are corridors and settings of endless depth that really stand out. 

The distance between Buzz and other characters is the most impressive piece to this factor, as spaceships are detailed with the rows of seating standing out sharply. Plus, moments where people are separated by distance and height really pop, as you really feel the separation between our hero and a crew-member/military officer interacting with him from above or below.

BRIGHTNESS SCORE - 4/5

I wish I could have saved the Brightness score for last with Lightyear, because it’s the only fault seen in the movie’s 3D presentation. Your mileage will obviously vary, depending on how well your theater of choice maintains their projectors between 2D and 3D showings in an auditorium. Once again, it's important to choose a theater you trust to do right by their picture quality.

With the 3D showing I attended at a local cineplex, not even the slight dimness or the buffering quality for long stretches of the movie could totally ruin Lightyear’s charms. It was plenty bright once I took my glasses off, but the slight dimming behind the glasses robs this experience of a perfect score. Other than that slight nitpick, darkened nighttime scenes and the vastness of space still look pretty good. 

GLASSES OFF SCORE - 5/5

In those moments where one is tempted to remove their glasses, you should see the classic blur of the 3D image that’s joined together once you put your glasses back on. That’s supposed to be a sign of how manipulated the 3D picture is, and what’s truly being shown in that enhanced format. Lightyear possesses that blur rather strongly, with the audience seeing double almost immediately. 

Heavy blur saturates the picture at all times during the film proper, with certain visual anchors looking more 2D in comparison. The border between blurry and solid figures is pretty subtle, but always present. Judging by the Before and Beyond the Window factors that are supposed to be linked to this component, the perfection isn’t hard to justify.

Though there is one minor nitpick I need to throw in here, as it fittingly pops up during the point most people have their glasses off: the end credits. Lightyear’s Main-on-End credits start things off in 3D, as does the mid-credits scene. However, once the rest of the end credits role, the film goes back to 2D. This includes a post-credits gag and a post-logo stinger that are also included in the final moments of the film. While points aren’t taken off at this point, it’s something that will have to be considered in the future. 

AUDIENCE HEALTH - 5/5

A lot of action is packed into Lightyear’s brisk and fulfilling runtime. Fast-paced conflicts with alien creatures are woven in-between heartfelt moments of emotion, which could cause people’s eyes to get a bit confused when moving back and forth from such scenes. That doesn’t even happen in this film, as we’re all treated to some pretty smooth 3D adventure throughout the entirety of Lightyear.

Motion sickness and eye strain won’t be a problem, even with the potential slight dimming of the picture. Again, even with moments that buffered and stuttered in this unique showing of mine, Lightyear didn’t feel any more awkward than a typical 3D movie. Besides, of course, the fact that dialogue and visuals were choppy for extended stretches. Even through that unfortunate circumstance, it didn’t hurt to watch this adventure in 3D.

FINAL VERDICT: 34/35

Lightyear is a huge step up from the franchise’s previous 3D presentation of Toy Story 4. I’m a huge fan of this medium, and truly believe in its capabilities to actually enhance a movie over its 2D counterpart. It’s rare that I get to say this, but in this case the 3D definitely improves the movie on display, as it showcases a result that does draw you deeper into the movie. 

It’s just a shame the brightness for my showing was off, and that no one’s offering an IMAX 3D variant. The second point is felt more sharply, as Lightyear has a specially designed IMAX camera system. Just as I’d found with my IMAX 3D viewing of Jurassic Park Dominion, the large format’s third-dimensional prowess is still superior to conventional 3D.

Don’t let that stop you from seeing Lightyear in 3D, as the end result is something that lives up to Buzz Lightyear’s iconic catchphrase. As for what to expect as the next To 3D or Not To 3D review, it looks like things are about to get a lot more yellow around here. Can the colorful world of Minions: The Rise of Gru rise above the grey barrier of 3D glasses? We’ll find out in time for the upcoming movie’s July 1st release date.

Is it just me, or is summer movie season really heating up? The new movie releases we have on the docket are pretty exciting, and that’s partially because titles like Jurassic World Dominion are giving us the opportunity to ask a very important question. It’s time to once again explore one of the greatest mysteries of cinema: To 3D or Not To 3D?

Don’t worry, I’m not going to spoil any details about the third Jurassic World installment. Though if you want to learn more about the film without any specific details, Eric Eisenberg’s official Dominion review is here to help. Also, if you want to check out the archives of To 3D or Not To 3D, that can be arranged as well. From this point, it’s time to open the gates, and see if Jurassic World Dominion is worth the 3D ticket price, or if you’d be better off booking a ticket to BioSyn Valley to see the beasties up close.

FIT SCORE - 5/5

While it wasn’t originally built for 3D, Jurassic Park’s 3D re-release for the 20th anniversary in 2013 was only the beginning of dino mayhem coming right at you. The entire  Jurassic World trilogy is now a 3D-converted whole, and it fits just as nicely as the IMAX 3D conversion of Steven Spielberg’s original film did. With action and creatures to spare, Jurassic World Dominion truly does fit the 3D blockbuster mold.  

PLANNING & EFFORT - 4/5

You can be a movie cut out for the 3D game and still fall flat on your face. Planning and Effort is where the game is won or lost for a movie like Jurassic World Dominion. As far as the official party line goes, director/co-writer Colin Trevorrow himself even endorsed the efforts done on Dominion’s 3D conversion. During my interview with Trevorrow for CinemaBlend, he spoke about this version of the film as follows: 

Did Jurassic World Dominion live up to the potential promised by its proud papa? Yes, it absolutely did. There’s some minor wonkiness here and there, and the brightness could have been bumped up a bit, for sure. Those caveats aside, the folks at DNeg Stereo have put in some solid work after previously conversions, like the exemplary 3D version of No Time To Die.

BEFORE THE WINDOW - 5/5

One of the improvements that came from the 3D experience in Jurassic World: Fallen Kingdom is the overall effect in the Before the Window category. Guns and dinosaurs are always things that present an opportunity to push the envelope, sending objects out of the screen and into the audience’s faces. In the case of Jurassic World Dominion, there are tons of moments where dinosaurs are snapping, spitting and roaring at the audience. Not to mention that the gunplay in sequences like the huge Malta section of the film manage to work as well as the various actors that hold their hands out to the screen.

BEYOND THE WINDOW - 4/5

Ideally, a perfect Beyond the Window component to a film would show limitless depth. Certain moments, like Jurassic World Dominion’s Biosyn hyperloop tunnel, go on forever in the 3D picture, while other more personal moments tend to contain the image displayed to a more limited field of vision. As characters and objects are properly separated from each other and their surroundings, you’re not going to see Claire Dearing or Ellie Sattler blending into the background of any given scene. This leads to another astounding piece of this 3D dominion.

BRIGHTNESS SCORE - 4/5

Crisp doesn’t even begin to describe the clarity and brightness in picture for Jurassic World Dominion. Perhaps one of the best shots that proves my point is when Claire and Ellie are trying to reboot the power to BioSyn Valley. In a moment that lights both women solely in red emergency lighting, there isn’t an ounce of dimness in that piece of the action. Throughout the rest of the film, there’s a bit of dimming, but nothing that makes the film unwatchable. That’s not necessarily the fault of the conversion team for Dominion, as your mileage will vary depending on how well the theater in question maintains their equipment switching between 2D and 3D showings. 

GLASSES OFF SCORE - 4/5

Something rather odd happened during my 3D presentation of Jurassic World Dominion: for the first couple minutes of the film, it looked like the usual blur wasn’t present at all. I almost wondered if I’d wandered into the wrong auditorium and was witnessing a 2D version, despite seeing 3D effects at work. It made me curious to observe throughout the rest of the film just where the blur was popping up, as the effect was working. Based on what I saw from the rest of the film, it looked like the blur was refocusing on various pieces of the image, with a healthy amount residing in many of the backgrounds. Most notably, the introduction between Dodgson, Alan and Ellie was where I noticed it the most. It threw me off a bit, but it did lead to a more dynamic approach to 3D storytelling.

AUDIENCE HEALTH - 4/5

There are honestly only a handful of moments where the action in Jurassic World Dominion wonks out the eyes of the audience. Some of the more fast-paced sequences cause a bit of visual confusion, though only in certain action pieces. For as fun as the Malta chase is, trying to keep up with Owen and his foes on motorcycles gets a bit touchy in 3D. Otherwise, there’s no strain or motion sickness to be spoken for, as the rest of the ride works beautifully.

FINAL VERDICT: 30/35

Closing out the trilogy of 3D films that started with Jurassic World's premium experience in 2015, Jurassic World Dominion is worth the extra 3D money. Roughly on par with the effort we've seen throughout this run, with a couple changes here and there, it's adventurous and isn't afraid to throw you to the dinosaurs. But will Disney's Lightyear answer the call to action in the third dimension with just as much excitement? We'll find out next week when To 3D or Not To 3D returns! 

Audiences have been separated from the Avatar franchise for over a decade, but clearly that hasn’t dulled their appetite for James Cameron’s sci-fi epic. With the impressive debut of Avatar: The Way of Water’s first trailer, the hype couldn’t be more real for the next chapter in the saga of Jake Sully and Neytyri. A resurgence in interest for the franchise isn’t the only potential awakening to be had, as this first look shows the potential for Avatar 2 to revitalize the 3D moviegoing market for upcoming movies. 

Before we take off for flights of fancy in Pandora, now’s a good time to revisit the trailer for Avatar: The Way of Water, so watch it below.

It may not be the dazzling 3D presentation included with Doctor Strange in the Multiverse of Madness, but the Avatar 2 trailer still looks pristine as ever. With that in mind, here’s how 20th Century Studios’ next potential blockbuster could bring back this waning market in style.

Avatar: The Way Of Water’s Trailer Already Has Phenomenal 3D

As previously stated, Avatar: The Way of Water’s footage still looks pretty impressive in an online trailer. However, there’s a reason that it was first unveiled at CinemaCon, followed by a window of theatrical exclusivity with Doctor Strange in the Multiverse of Madness. The truth is, Avatar 2’s trailer looks even better in 3D, and that doesn’t seem like an accident.

It’s been a long time since 3D trailers have been implemented with theatrical releases. It’s truly a shame too, because ideally this practice should be your first tease of how good a studio’s 3D conversion of any given film turns out. Applying that logic to Avatar: The Way of Water’s first trailer, the results are something that should hype everyone up for a proper revival for the format.

3D, And Other Formats, Are Already Confirmed For Avatar 2's Release

Without Avatar’s gargantuan success in 2009, the 3D market may have never landed as studios had intended. James Cameron’s insistence that theaters be able to show the film in as many formats as possible, with IMAX and 3D being central to that strategy, changed everything when it hit. John Fithian, the CEO of NATO, seems to remember those days rather well. Or at least, his remarks on Avatar 2’s release platform at CinemaCon (via THR) would indicate that, as he made the following pledge: 

To draw even further context about how serious Avatar: The Way of Water’s release platform sounds, it’s going to have high frame rate versions being released. James Cameron had previously nixed HFR versions of Avatar's sequel, but it looks like the writer/director has changed his mind, specifically to the tune of 48 FPS. With Dolby Atmos and Vision also in the mix, more varied formats of 3D are on the horizon for this December 2022 release. 

Theater Owners Could Finally Invest In 3D Improvements

Considering the inclusion of 4K, 48 FPS High Frame Rate, and Dolby Atmos and Vision releases into Avatar: The Way of Water’s portfolio, we might see improved methods of 3D hitting the wider theatrical market. Experiments like Ang Lee’s Billy Lynn’s Long Halftime Walk and Gemini Man have proven the technology for filming is out there, but there are some improvements on the exhibition side that haven’t been as readily implemented.

More specifically, Real-D’s Ultimate Screen technology, developed and shown off back in 2018, may finally have its day. Again, the straight-up conventional 3D showing of Avatar 2’s trailer looked fantastic, and theaters probably had everything nice and calibrated for both that and Doctor Strange 2’s big debut. In that respect, just as James Cameron pushed theaters to adopt 3D on a wider scale, he could push them to finally use this upgrade that benefits how movies are shown all around.

IMAX Might Consider Giving 3D Another Shot With Avatar 2

New technologies aren’t the only formats that can benefit from Avatar: The Way of Water’s release. As IMAX has turned its back on the 3D format it helped popularize (at least on the domestic front), homegrown audiences have missed out on some huge opportunities. Namely, there's the IMAX 3D versions for Dune and No Time To Die that hit international markets and could have pumped those movies up further. 

With Avatar 2 on the way, this looks like the movie to convince the company to give domestic 3D another shot. It’s almost a given that this sequel’s monolithic push for as many formats as possible will include a version mastered in IMAX 3D. Even without Avatar’s sequel making such a pledge, the IMAX 3D format was definitely a crucial part to the record-setting grosses the first film brought in. 

Selling out just as easily as the conventional and standard 3D showings, Avatar 2’s predecessor set the tone for IMAX to be an even greater profit machine. Even Chinese audiences who resisted Dune in IMAX 3D would probably want to see the highest grossing movie in their country’s history shown as widely as possible.

Natively Filmed 3D Projects Stand To Get A Boost From Avatar: The Way Of Water’s Potential Success

The majority of 3D movies shown today (with some exceptions like Alita: Battle Angel), are made that way through post-conversion efforts. Rather than filming movies in native 3D, filmmakers tend to create the third-dimensional illusion in the edit. This especially works in cases like the time James Gunn personally supervised Guardians of the Galaxy’s  3D conversion. However, James Cameron continues to believe in shooting movies in 3D, and he’s doing it again with his Avatar sequels. 

Much like what Ridley Scott and Martin Scorsese respectively did with Prometheus and Hugo, filming in native 3D has been a bit out of fashion in the past couple of years. Avatar: The Way of Water has the potential to show everyone what filming in 3D can do when done right; especially when James Cameron did it so well with the first movie. Adding up all of the potential above, there’s one outcome that ties everything together in the best scenario possible. 

More Movie Studios Could Return To A Wider 3D Release Pattern

The 3D release model has definitely waned in recent years, with the Marvel Cinematic Universe as the format's most consistent practitioner. For a time, all major potential blockbusters released would have a spot reserved for 3D on the release platform, with IMAX 3D also being included. Avatar helped make that happen, and The Way of Water could do it again with the right product. 

Working with more options, improved quality and a movie that shows people actually care about premium formats when they’re crafted correctly is a path to more 3D movies in the future. James Cameron did it once before, and it looks like Avatar 2 sees him chasing that particular rabbit again. With a production model that ensures quality, and theatrical exhibitors ready to welcome Cameron’s return with open arms, the right result should be all studios need to return to making more 3D movies available. 

This is all speculative, as Avatar: The Way of Water still has some thinking it might be too late for the movie to make the money it’s intended to rake in. Then again, there are those who keep maintaining the mindset of, “Never bet against James Cameron,” and that viewpoint has validity based on those trailer views. December 16th marks the return to Pandora, and the start of the future for the Avatar franchise, as well as 3D exhibition.

Who knows? Maybe Disney+ subscribers will be able to access 3D versions in the studio’s library of films, similar to how the platform has used IMAX variants to compete with HBO Max. For the moment, if you’re satisfied with the Avatar 2D experience, that’s exactly what you can find on Disney+. 

Wow, has it really been that long since we’ve dusted off the glasses? One moment you’re reviewing how well 3D worked for Spider-Man: No Way Home, and before you know it, it’s time to dive back into the Marvel 3D well. After all of the hype and waiting that’s led us to the release of Doctor Strange in the Multiverse of Madness, it’s finally time to step back into the Marvel Cinematic Universe’s big screen component. Which means that it’s also time to add another entry into our To 3D Or Not To 3D archive, thanks to the good doctor himself.

If you’re looking for spoiler-free commentary on how director Sam Raimi’s return to the world of comic adaptations fares as a movie experience, you can find that in our own Eric Eisenberg’s official review. Consider it another branch to the multiverse that is discussing the full Doctor Strange 2 experience. Here and now, we’re going to slip on our 3D glasses, and talk out whether Benedict Cumberbatch’s next solo chapter is worth the extra money, or if you should save it for some Pizza Poppa’s Pizza Balls on the way home. 

FIT SCORE - 5/5

Putting aside the business practice of regularly releasing comic films in 3D for a profit boost, the visuals on display in the trailers for Doctor Strange in the Multiverse of Madness definitely suggest a potentially eye-popping time at the movies. The precedent for that notion goes further back as well, since 2016’s Doctor Strange used 3D to an impressive extent. Not only is this movie absolutely fit for 3D, it shows that Sam Raimi was born to make 3D movies

Sadly, the screening observed for Dr. Stephen Strange’s latest adventure was not in IMAX or large format 3D due to the limited nature of showtimes. That doesn’t dim the shine on the standard 3D presentation though, as you’ll see throughout my evaluation. Suffice it to say that I’m ready to revisit this one in IMAX 3D to see if I can spot any difference. Also, this is one hell of a ride.

PLANNING & EFFORT - 5/5

In the screenings observed for both Spider-Man: No Way Home and the 3D presentation of last November’s Eternals, the P&E seemed to have taken a dive in quality for the MCU. This was even more disappointing, as Shang-Chi and the Legend of the Ten Rings looked like the format was going to rally. As if that wasn’t enough pressure on Doctor Strange in the Multiverse of Madness’ 3D conversion to deliver, Marvel Studios president Kevin Feige made the following comments about the matter at the premiere’s red carpet: 

That definitely sounds like history repeating itself, as that same scenario of concern/reaction came up in my 3D review for Doctor Strange. So is Doctor Strange 2 worth that sort of hype? Yes, yes, absolutely yes! The care and love is back in MCU 3D, and Multiverse of Madness has a lot to show off to anyone who wants to take the trip. 

Hats off to Stereo-D for its conversion work on this movie. I know I’ve bagged on some of the studio’s work in the past, but the dedication to making this trip all the stranger in 3D needs to be highlighted. Much like Sam Raimi gets to go all out with his bag of tricks on Doctor Strange in the Multiverse of Madness, the Stereo-D folks show up to leave it all on the field.

BEFORE THE WINDOW - 5/5

Doctor Strange in the Multiverse of Madness doesn’t waste any time getting started, and the 3D presentation keeps pace with that sort of energy. From America Chavez’s opening sprint with an alternate Strange to obtain the Book of Vishanti, third-dimensional thrills are already in play, hitting every aspect you’d want in a 3D movie. Yes, dear reader, that includes the often underplayed Before the Window factor, which is well served in this picture. Not only is it an eye-popper, but there's literally a scene of eye-popping that is shown early on. 

Much like Doctor Strange, the visual representation of spells in the sequel continues to stun with its projection into the audience. What’s more, full-on battle sequences with monsters, debris and atmospheric effects help draw a stunning picture across three dimensions. There’s even a full-on battle sequence with musical notes that fly towards the camera; and Sam Raimi doesn’t pull his visual punches by cutting before the gag. If you didn’t think you were going to flinch watching this movie, just wait until you’re introduced to the Souls of the Damned! 

BEYOND THE WINDOW - 5/5

No matter where Doctor Strange 2 hangs its hat, the depth drawn in its image is present to enlarge the world on screen. When Stephen catches up with Christine on her wedding day, taking a peek into the background reveals the depth that makes the venue fully realized in 3D. It might be easy to make a multiversal gap junction feel limitless, but getting a single conversation in a more standard setting to stand out is a plus. There are some truly Sam Raimi transitions, as well as some brilliant camera angles that see characters looking down at objects and surroundings, all of which only pop more brilliantly because of this aspect. 

The standard hallmarks are also present in Doctor Strange in the Multiverse of Madness’s Beyond the Window component. Scenes full of people contain the spatial reasoning that allows rows of wedding guests to stand out amongst each other. Also, figures on screen are properly separated from their environments, so when America Chavez is captured in a plexiglas cube, you really feel that cube’s presence. As the Before/Beyond the Window segments occupy two sides of the same 3D coin, it’s marvelous when they both align so well.

BRIGHTNESS SCORE - 5/5

If the 3D format were to have an arch-nemesis, it would have to be the Brightness factor. Slipping on tinted lenses automatically dims any picture, no matter how bright, to a certain degree. As such, it’s important for theaters to maintain the projectors properly and ensure that the rigs are calibrated before showing a 3D movie like Doctor Strange in the Multiverse of Madness. Because of that, your mileage may vary with any 3D movie in this respect; so it’s important to choose a theater you trust to handle such showings properly.

With all of the usual caveats out of the way, Doctor Strange’s sequel was as clear and crisp as anything in the viewing that was observed for this evaluation. Keep in mind, there are just as many scenes in darkly lit surroundings with subdued color pallets as there are sequences where our protagonists become vibrant, multiversal paint. Throughout those circumstances, the look of the movie doesn’t dull or dim past what the situation calls for.

GLASSES OFF SCORE - 5/5

With great 3D powers comes great 3D responsibility, as the image you’re being shown has to be manipulated to a certain degree to get that third-dimensional punch. This is why when you remove your glasses, or if a theater happens to start a 3D showing without proper calibration, you’ll notice that what you’re seeing is a blurry mess. However, the blurrier that mess is, the better it usually is with the 3D alignment that comes from wearing those glasses. Doctor Strange 2 doesn’t skimp on this blur, and you can see it easily when you flip your facial furniture off during any point in the movie. 

The deep limitless backgrounds, as well as the thrilling objects being hurled towards the audience, both depend on the blur to work. When taking my glasses off from time to time, I not only noticed how bright the picture was to account for the tinted lenses, but the blur was equally impressive. Background figures and objects are where you’ll usually notice most of that blur, with subtle shades that creep in on whatever factor is taking center stage

AUDIENCE HEALTH - 5/5

There is a lot of running, fighting, and spell-casting in Doctor Strange in the Multiverse of Madness. Better still, Sam Raimi’s visually frenetic camera work, best known for being present in the Evil Dead movies, is very much on display here as well. In the wrong hands, mixing those two worlds would be a recipe for dizziness and poor audience health. For the last time in this 3D review, I’ll say it clearly and bluntly: this film is not in the wrong hands.

Visual panache is allowed to coexist with being able to clearly watch this Doctor Strange sequel do its thing. I still remember noticing the visual wonk of 3D for the first time when seeing The Avengers in this format, and always feeling certain moments uncomfortably stick out. That’s not the case with Multiverse of Madness, which is as comfortable in presenting itself in 3D as it is to watch in such a format. This movie literally hits the ground running, and it never loses step in quality.

Final Verdict - 35/35

It’s been a while since I’ve been able to grant a movie a perfect score, especially an entry in the MCU. Doctor Strange in the Multiverse of Madness is a rare exception, and I would even go as far as to say it’s a 3D must-see! I really hope that Kevin Feige’s comments on carefully crafting conversions like this stick with all of the teams that approach future Marvel movies. 

With the format undergoing somewhat of a shrinking footprint, and the MCU being one of the few remaining consistent practitioners of this concept, the 3D world could use a rebound. Continuing to release conversions like Doctor Strange 2’s exemplary work is one of the keys to that potential success, and this movie should inspire further faith in fans willing to pay for a third-dimensional thrill ride.

Of course, part of the reason this movie may have been so crisp is because of the fact that the first trailer for Avatar: The Way of Water was attached to it. Maybe that too is a sign that studios like Disney are ready to take 3D seriously and usher in a new age of quality work. For now, I’m satisfied with Doctor Strange in the Multiverse of Madness being a 3D delight, and I look forward to trying to catch it in IMAX 3D so I can see if it’s more immersive in that specific format. 

Strange forces are amassing, and an event of multiversal proportions is brewing that will change everything we know about the Marvel Cinematic Universe. Oh, and Spider-Man: No Way Home is finally opening in theaters, entertaining fans of that friendly neighborhood crime fighter to no end. Since it’s a comic book movie, there’s already a ton of questions everyone is asking about what this experience means in the long run. But there’s one question we can happily answer now, spoiler-free: To 3D, or not to 3D?

If you’re looking for what we thought about the movie as a general experience, you can read the official review from our own Eric Eisenberg. However, if you’re wondering whether Jon Watts’ big threequel is worth the extra 3D money, or if you’d be better off sprucing up your personal spider suit, this is the place to be. Let’s slip on our glasses, and see whether or not Spider-Man: No Way Home is a 3D marvel!

FIT SCORE - 5/5

As the third Spider-Man solo effort in the MCU, we’ve seen quite a history of 3D presentations in this franchise alone. Spider-Man: Homecoming was one of the last IMAX 3D experiences the domestic market got to enjoy in the MCU, but in the last two Peter Parker adventures, we’ve pretty much gotten conventional 3D only. Even with that shift in scope, Spider-Man’s high-flying antics remain an absolute fit for third dimensional enhancements; and throwing Doctor Strange into the mix only cranks the possibilities to a higher potential.

PLANNING & EFFORT - 3/5

The potential of Spider-Man: No Way Home’s 3D conversion is only as good as the way it’s planned and executed. Conversion efforts for this film were undertaken by Stereo-D, who have worked on both Spider-Man: Homecoming and Spider-Man: Far From Home in the past. One would think that gives them a unique understanding on bringing the character to life in the format; which is true to an extent, especially when considering the firm also converted Doctor Strange into 3D as well. All that knowledge still doesn't prevent some shortcomings that hamper the overall product to a significant extent, but it does help provide a decent foundation.

BEFORE THE WINDOW -  2/5

For a universe that is centered around a character that uses webs to swing around, deflect objects, and spring into action, Spider-Man: No Way Home is very sparse in its Before The Window fun. Previously, we’ve seen this effect carried to great effect in the franchise, with webs flying out at the audience and close calls with debris causing a flinch or two. The third time isn’t a charm in this scenario, as even Doc Ock’s 3D ready tentacles barely reach out into the audience. It’s a glaring absence, as certain moments are begging to break the frame, but don’t achieve the desired effect.

BEYOND THE WINDOW -  5/5

Good news returns on the front of the picture depth in Spider-Man: No Way Home, as this is a segment that has improved since the last solo installment. To be honest, a story that includes the trademark dimension bending of Doctor Stephen Strange and his powers would have been a bit of a heartbreaker if those visuals didn’t convey limitless depth. Not only is that intact, allowing the audience to feel like they’re falling into the images in front of them, but the field of vision in up close and personal scenes is also well drawn. Scenes of multiple characters working in a lab together show a firm grasp on spatial reasoning, and people/objects are easily separated from their backgrounds.  

BRIGHTNESS SCORE -  3/5

Strap in friends, because this is another bummer. Daytime scenes in Spider-Man: No Way Home are well suited, and can be viewed clearly, which isn't as much of a guarantee as you'd think with a 3D viewing. Throughout most of the nocturnal settings of this adventure, there’s a lot of murky and dim visuals that are a bit taxing on the eyes. That’s not always because of the conversion process, because the theater displaying the movie may not have properly calibrated their equipment to display a 3D movie before showtime. This is the third time in the recent past that a showing observed for our 3D reviews started with improper calibration; and on top of that unfortunate misstep, the brightness level of the film when the 3D was “turned on” was almost consistently covered in a blue dimness. 

GLASSES OFF SCORE -  4/5

The blurriness of an image in a 3D showing has always seemed like a good shortcut to understanding how well a movie has been manipulated for the third dimensional space. While the effect beyond the window isn’t as keenly executed as one would want, taking your glasses off during Spider-Man: No Way Home’s 3D presentation will still show a healthy display of blurred visuals. It’s not as fine as some other movies we’ve seen in the past, but the major pieces are still present, with backgrounds carrying a lot of the blur and close-ups going most of the distance.

AUDIENCE HEALTH -  3/5

Darkness is not your ally when watching a 3D movie, and Spider-Man: No Way Home chalks up another notch in the metaphorical belt that proves that statement. In the presentation observed for this review, the finished product is definitely watchable and not totally broken. Unfortunately, with a good number of scenes taking place in darkness, and the brightness level of the picture falling short to begin with, this experience got a bit frustrating at times. You shouldn’t have to be bothered by picture quality when Alfred Molina and Willem Dafoe are sharing a moment on screen, but that’s what happened here.

FINAL VERDICT: 25/35

With the MCU all sewn up for the year of 2021, it’s safe to say that Shang-Chi and the Legend of the Ten Rings is the best 3D conversion that Marvel Studios has offered us this year. Spider-Man: No Way Home isn’t the worst third dimensional showing from the studio, as Eternals still reigns supreme in that respect. Huge opportunities were still missed in the undertaking of this conversion, with the consistent problem of brightness levels being the nail in the coffin. If anything is to be learned from this scenario, it’s that theaters need to be keeping their 3D auditoriums maintained, and maybe it’s time to bring back the IMAX 3D format in the domestic market. 

Until next time, don’t forget to support those theaters in your market that you trust with the 3D experience, as they can use all the help you can lend. If you want to catch up on previous 3D evaluations, head over to our full To 3D Or Not To 3D Archive. Otherwise, we’ll see you back here the next time we prepare to tackle the web of third dimensional adventure in a theater near you. 

A colorful, magical, musical Disney movie awaits families this Thanksgiving thanks to the release of the studio’s 60th animated film, Encanto. This story of the Madrigal family and their magical homestead in Colombia looks like it has charm to spare and a song in its heart. Not to mention that there are lots of eye-popping potential on display throughout the film’s trailer. Which means it’s time to ask one of our favorite questions: to 3D or not to 3D?

If you’re looking for how the latest Lin-Manuel Miranda-assisted musical works as a film experience, our official review from Dirk Libbey will satisfy that particular need. However, if you’re ready to see if this heartwarming and spellbinding adventure is worth the extra ticket money, or if buying a stuffed cheetah is a better investment, then you’ve come to the right place. Time to dip into that old polarized magic, as we take a look at the 3D presentation for Encanto! 

FIT SCORE - 5/5

How does a film with a magical house, a family with mystical powers and the Colombian countryside not fit into the 3D format? The trailers already make a pretty good case for third dimensional enhancements, but actually seeing the finished product locks down the case for the 3D version even tighter. If you thought the brief glimpses of the film were impressive, just wait until you see the whole thing presented in this premium format.

PLANNING & EFFORT - 4/5

A movie like Encanto is comparatively easy to present as a 3D-converted joy factory. Since it's a computer animated picture, the tweaks needed to add a third dimension of thrills to the visuals can be done organically, from the source. There’s only a slight deduction of points from the Planning and Effort, which comes from some small drawbacks, such as turning off the 3D effect during the credits, but turning them back on for the final logos. Overall, there’s a lot of love baked into this latest 3D thrill from Disney, as well as the animated short that precedes the film proper, Far From The Tree. 

BEFORE THE WINDOW - 4/5

Throughout the entirety of this picture, there are objects coming out of the screen with great effect. Animals, and their feathery butts/furry ears, poke out of the screen; with a cheetah running towards the screen a couple of times to boot. Musical numbers especially take advantage of projecting to the audience, as well. There’s room for some more sequences of action and everyday life to take advantage of this segment of the 3D conversion, but that’s only said because the times that Encanto does use this effect, it works like a charm. 

BEYOND THE WINDOW - 5/5

As usual, there isn’t a problem when it comes to the depth of picture in this 3D presentation. Even a lackluster conversion like the one seen with Marvel’s Eternals managed to get the depth of picture correct. Perfecting this particular piece of the puzzle, this film draws a perfect field of vision throughout the Colombian countryside, as well as the various hallways and hiding places of the Madrigal family’s Casita. 

BRIGHTNESS SCORE - 4/5

The darkness of the Colombian countryside could have been a stumbling block for Encanto. Nighttime sequences can get pretty dark, and with the plotline involving the disgraced family member Bruno’s exile, there’s even more dimly lit passages that give Casita a special dimension of drama. Neither of those factors kill the vibe of the visuals, as the movie is only slightly dimmed behind 3D glasses, but it's still very watchable and absolutely colorful. This isn’t totally down to the conversion efforts though, as part of the brightness factor depends on how well the theater you’re visiting maintains its rig. 

GLASSES OFF SCORE - 5/5

Blur levels in a 3D movie are usually a sign as to how much the image has been manipulated in order to maximize the thrill. Drawing distances, and projecting items into the screen, all come from a combination of blurred images that are reassembled by your polarized 3D glasses. Taking off your glasses during Encanto will show the usual blur you would expect from a movie that does both of those jobs rather well. Close-up shots have strong 2D anchor points that blend well with the 3D blur that makes the image pop, while wide shots have you seeing double with some of the elements and figures drawn. If you like blur, this movie’s got it.

AUDIENCE HEALTH - 5/5

When discussing the animation of the many musical numbers in Encanto, even the animators admitted that the fast pace of those moments were challenging to bring to life. As a result, the entire movie is packed with lots of action, as well as scene transitions and extensive panning shots that could be a nightmare for 3D viewing. If you’re worried about sensitive eyes or a less than ironclad stomach ruining your viewing experience, you can rest assured that it’s easy to keep track of what’s going on in this odyssey of family bonding through song. 

FINAL VERDICT: 32/35

A story of music and magic, Encanto’s 3D presentation compliments both aspects greatly. Though you may be tempted to wait until Disney+ debuts the film on Christmas Eve, seeing the Lin-Manuel Miranda-enhanced musical is even more exciting when you feel like you can reach out and pet a donkey's ears. If that's not enough, there are plenty of flower pedals, psychic visions and rain storms to enjoy in the realm of 3D as well.

Until next time, dear readers, be sure to read your showtimes carefully and head out to a theater you can trust with your 3D money! If you want to catch up on previous 3D evaluations, head over to our full To 3D Or Not To 3D Archive. We'll see you here next time, and please remember to recycle your glasses on your way out of the theater. 

As director Chloé Zhao's Eternals takes its place as the latest entry in the Marvel Cinematic Universe, a lot of questions are about to be answered. In-between queries like what sort of consequences this film puts into play for the MCU at large, and what those end credits sequences really mean, there are some familiar subjects also waiting to be addressed. Like, say, To 3D or Not To 3D? 

If you’re looking for details on how Marvel’s Eternals measures up as a film, check out Eric Eisenberg’s official review. But if you’re more concerned with whether or not the latest MCU entry is worth the extra 3D money, or if you’re better off shopping from IKEA’s fall collection, this is the place to be. Time to take a deeper look at the 3D presentation of Eternals, starting with whether or not the movie fits the bill for this sort of premium enhancement.

FIT SCORE - 3/5

In terms of the action and thrills that Eternals presents, the movie is an absolute fit for the 3D medium. If anything, this is a movie that uses the Before and Beyond fields in equally impressive measure. That being said, there’s one massive drawback that director Chloe Zhao’s gorgeous 2D aesthetic brings to the 3D table, and it’s the usage of muted colors and natural lighting through most of Eternals.  

PLANNING & EFFORT - 2/5

The Planning and Effort factor of Eternals’ 3D presentation suffers most from the fact that those muted colors and natural lighting play havoc with being able to see things clearly. That particular disappointment stings harder with this film, as there are some impressive factors that could have really shined. After seeing Dune's 3D presentation work with purposely dimmed surroundings and bright desert vistas with equally brilliant effect, this feels like a slip-up that didn't have to happen. With Eternals being hard to watch through the murky picture quality, it doesn’t feel like the entire 3D conversion process was given equal love and attention. 

BEFORE THE WINDOW - 5/5

Let’s get some positives into the mix, because there are pieces of Eternals’ 3D conversion that absolutely should have shined. And in a rare feat, this Marvel adventure surprisingly throws a consistent, yet not annoying, amount of objects out at the audience. Gigantic lava rocks, various weapons from the titular Eternals, and even Kumail Nanjiani gesturing towards the camera in a Bollywood musical number all break the window rather smartly. It all makes the impressive depth of picture all the more exciting. 

BEYOND THE WINDOW - 5/5

If you look into the background of any moment in Eternals, you’ll be able to see characters and their surroundings clearly separated. Certain moments, like Gemma Chan’s big London fight sequence in the first act, are especially well drawn, as you can look down the street for what seems like forever. Even simple conversation scenes manage to pop, with spatial reasoning making those moments feel all the more real. The perfect Before/Beyond the Window combo is an awesome effect to land, but we’re about to hit the greatest pain point Eternals 3D conversion has to offer. 

BRIGHTNESS SCORE - 2/5

It has always been, and always will be, important to make sure that the brightness of a 3D movie is well tended to. Just ask anyone who’s seen the Fantastic Beasts movies in this particular format. Slipping polarized lenses onto your face tends to darken the picture to a certain degree, and the MCU's latest suffers harshly in this specific factor. The entire movie is a dim mess to watch, with some shots of natural daylight looking nigh unwatchable. This isn’t solely the fault of the conversion, as theaters don’t always properly calibrate their 3D rigs between showtimes. Considering this is the same location that was used to evaluate the 3D conversion of Venom: Let There Be Carnage, it might be time to remove this venue from the rotation.

GLASSES OFF SCORE - 5/5

Shifting back to the last positive of this 3D showing for Eternals, if you happen to take off your glasses to give your eyes some much needed light, you’ll see some blurriness. That’s natural for a 3D movie, as the effect is supposed to draw contrasting images that match up into a three dimensional image when you put on your glasses. There’s absolutely no problem here, as that blur takes the shape of wide shots in double vision, as well as background manipulation that separates characters and features from their surroundings. 

AUDIENCE HEALTH - 2/5

The attack on Druig’s (Barry Keoghan) camp is the greatest example of why the movie's audience health score is so low. A dimly lit sequence set in a forest camp, with tons of spinning camera angles, flying, and fast paced action, it’s a perfect storm for the sort of stuff 3D does wrong. And yet again, it’s the dimness of the picture that really stands out, as most of the visuals don’t really wonk the eyes out on their own. So that’s even more proof that frequent Marvel collaborators Legend 3D aren't totally to blame for the issues; especially considering the company’s work on the 3D version of Shang-Chi and the Legend of the Ten Rings.

FINAL VERDICT: 24/35

Eternals gets the right things wrong, turning what could have been a sterling 3D presentation into a borderline nightmare. While the visuals at play take advantage of playing with the canvas of the film, the darkness is so great that it spoils the fun. Maybe in another theater the brightness isn’t as much of a problem but, in this viewing, that factor alone made this a chore to sit through. If you want truly thrilling 3D, and aren’t married to the idea of seeing Eternals, there’s always showings of Dune and No Time To Die to consider. 

Of course, the choice is up to you, dear reader. With Marvel's Eternals currently available in pretty much every major format, you can see it in 3D, IMAX, Dolby Vision, or whatever other choice you have your heart set on. Just make sure that if you choose 3D, it’s with a theater you can trust. And if you want to catch up on previous 3D evaluations, head over to our full To 3D Or Not To 3D Archive.

Another world of epic storytelling, all-star casting and franchise potential has landed at a theater near you. Thanks to director Denis Villeneuve’s Dune, Frank Herbert’s sci-fi touchstone is on the big screen yet again, and in a stunning update. Which, of course, includes a 3D conversion released out into the wild. But is this third dimensional effort so good you feel like you could ruffle Timothée Chalamet’s hair? Well, that’s basically asking, “To 3D or Not To 3D?,” so let’s get to questioning, shall we?

The usual warning before we get too deep in the sand: if you want to see what we thought of Dune as a movie, you’re in the wrong place. Eric Eisenberg’s official review is available to answer your questions on that particular subject. But from this point on, we’re going to sift through the 3D conversion of Dune and see whether the spice is worth the hype. 

FIT SCORE -  5/5

You know how they say throwing the first punch determines the course of a fight? 3D’s kind of like that, as if you don’t lay down some proper groundwork early on, the rest of the battle’s uphill. Dune gets this to a tee, as it shows just why it’s supposed to be in 3D, with a stunning prologue involving a quick action set piece establishing the Harkonnen hold on Arrakis. Everything from sweeping vistas to personal moments of conversation is framed in such a way that 3D absolutely works its magic on Denis Villeneuve’s visual canvas. Though it also helps that Mr. Villeneuve is no stranger to the format, as his previous film Blade Runner 2049 was also an eye-popping knockout.

PLANNING & EFFORT -  4/5

DNeg has done it again, folks. After putting out an amazing 3D conversion of No Time To Die, the team returns to the field of play with Dune. There’s some really impressive factors at work here, particularly the preservation of visual clarity in the movie’s darker moments. A minor point deduction did crop up though, and it’s one we can discuss in more detail immediately, as the Before the Window section fell just slightly short of perfect.

BEFORE THE WINDOW -  4/5

While the Before the Window thrills of a movie like Dune should never be abused, as it would cheapen the entire product, there could have been more moments of screen-breaking during the massive action scenes. That being said, the one visual sequence that absolutely nails projecting an object into the audience, has to be when Paul is trying to evade the Hunter Killer. That object absolutely flies at the audience, inducing a bit of a flinch. Also, if you’re a fan of facial features projecting into the audience, Rebecca Fergusson and Oscar Isaac are fine examples of this feature at work. Isaac’s beard especially benefits, which only makes it a shame that Jason Momoa couldn’t keep his in tact for Dune.

BEYOND THE WINDOW -  5/5

I wasn’t just being cute before when I made that remark about being able to ruffle Timothée Chalamet’s hair. Dune has 3D depths so well drawn, even a person’s hair gets to be the star of the show. Again, right from the opening, the depth of picture packs a powerful punch, which absolutely matters in a film that has tons of troop formations and intimate discussions that require such depth. Characters and their environments are properly separated, and there’s even some really cool moments where floating spice particles, and even subtitles, serve as a fun buffer between objects and persons. Still, one of the most impressive elements of the Beyond the Window aspect is seeing Paul’s visions of Zendaya’s Chani, and watching her windswept hair represent a perfect microcosm of just how deep these visuals are.

BRIGHTNESS SCORE -  5/5

I hope you’re sitting down for this, dear readers, because I’m surprised I’m even about to say it. For a movie that has as many dimly lit scenes as Dune does, the brightness is perfect. Daytime scenes are crisp and clear, even with the layer of darkness that’s added by merely putting on your 3D glasses. But when it comes to nighttime battle scenes or the darkness of Baron Harkonnen’s lair, the picture doesn’t quit. Exploding ships and burning trees during a crucial battle scene are not failed by this film’s 3D conversion, as the picture can be murky...but purely when it meant to be. Though to be fair, your mileage may vary, as the brightness factor depends on how well your theater of choice maintains its equipment. Which was firmly in mind during this screening of Dune, as things got off to a rocky start with un-calibrated 3D. However, the matter was corrected easily enough, and the film restarted in full 3D beauty. 

GLASSES OFF SCORE -  5/5

Taking your glasses off during a 3D movie is a moviegoing tradition, like buttered popcorn and timing your bathroom breaks. So when you remove your glasses during Dune, you want the screen to be as blurry as possible; and it definitely lives up to that requirement. You can trace the blur on the screen to specific points where it stops, leaving certain aspects of the picture looking 2D. That manipulation shows you just how much work was done to make that 3D image look as beautiful as it appears when you put your glasses back on. 

AUDIENCE HEALTH -  5/5

The health of the audience is important when watching a 3D movie. Gone are the days where red and blue anaglyph would cause headaches, but even in the world of polarized lenses, the picture can still cause some visual strain. Dune absolutely does not strain your eyes, and yes, this is a movie that includes some impressive hand to hand combat action in its execution. Again, should you have a theater you absolutely trust with 3D presentations, this is a factor that you won’t have to worry about. 

FINAL VERDICT: 33/35

A hearty round of applause to the folks at DNeg are yet again in order, as Dune lives up to the hype in 3D. For a movie that’s shot and enhanced for IMAX, it’s a true and proper shame that the premium format has turned its back on the format it once embraced so dearly. If Dune was shown in IMAX 3D, it could be the ultimate experience; but even in standard format 3D, it’s absolutely brilliant. 

If you want to see Denis Villeneuve’s latest sci-fi masterpiece in the third dimension, check your local listings very carefully. And if you want to catch up on previous 3D evaluations, head over to our full To 3D Or Not To 3D Archive. We'll see you here for the next 3D adventure, which just might present itself in those messages from the deep: our dreams.