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. 

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!

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.

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! 

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!

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?

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.

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.