What's The Best Cinema Format For ‘Thunderbolts*'?

Forbes

02-05-2025

As inevitable as the sun rising, another MCU Marvel movie is never too far away, and as of this weekend, the latest instalment, Thunderbolts*, has arrived in theaters. As you would expect for a major studio release, there's a wide variety of formats to choose from, which brings us to the perennial question: which format is best to watch it in?
While 'superhero fatigue' has been much discussed, this group of cynical, reluctant, rag-tag team seems to represent the zeitgeist of our current fractured world. Ostensibly an ensemble cast, Florence Pugh is effectively the lead, and she does a great job. It amazes me how effortlessly she brings roles such as this to life, as much as more naturalistic fare.
For all the sound and fury of its action, Thunderbolts* is essentially a movie about navigating mental health struggles, and for that I admire it ­— it's good to see an MCU movie that, amongst all the smashy-crashy, attempts to be about something human.
Director Jake Schreier and cinematographer Andrew Droz Palermo shot the movie using a new Arri Alexa 265 digital camera. Like its predecessor, the Alexa 65, this is a digital camera featuring a 6.5K sensor. Where it differs is its native aspect ratio of 2.12:1, close to that of 5-perf 70mm film. It's also three times smaller than the 65 and, thanks to a new sensor, offers greater dynamic range and improved image quality with better contrast, reduced noise, and richer, more defined colors.
As an IMAX-certified camera, it's no surprise that the movie has been framed with IMAX in mind, and for much of its running time, primarily the action sequences, it expands to the 1.90:1 aspect ratio of digital IMAX theatres. This is used well and makes it the default way to see the film. There are caveats, however. I would always recommend an IMAX Laser theatre over one that uses Xenon lamps, as laser projectors provide a brighter and clearer picture.
In some early showings, Thunderbolts* is even being presented in IMAX 3D — a rare occurrence these days. I am one of the few who still are willing to champion the format, though with the caveat that that's only if you can see it in IMAX Laser, thanks to the increased brightness, which normally compensates for the light loss from the 3D glasses.
However, having just returned from an IMAX Laser 3D showing, I have to say that the image was the dimmest 3D IMAX presentation I've seen. Why this is, I'm not certain, but I don't think it's the fault of SDFX, the effects studio that did the 3D conversion. I suspect rather it's the choice of Panavision lenses, which are known to give a more vintage look and the general desaturated color grading. While this fits the tone, I don't think it serves the 3D well. Some elements work, such as snow forest scenes, establishing shots of New York, and the falling from skyscraper sections. But there are no 3D frame-breaks or other creative uses of 3D that I noticed, and while I do love the true depth it provides, overall, for Thunderbolts*.I would recommend a 2D presentation.
On the audio side, the IMAX 12-channel mix was as solid and immersive as I've come to expect.
A great alternative to IMAX is always Dolby Cinema. The film will be shown in a scope aspect ratio of 2.39:1, which, if the Dolby screen is 1.85:1, will mean black bars top and bottom. But the strong black levels and high contrast of the Dolby Vision format will suit the movie's restrained color palette, while the pinpoint precision of the Dolby Atmos surround audio will draw you in.
If there isn't an IMAX or Dolby screen near you, then seek out a premium larger format screen. There doesn't appear to be an HDR by Barco version of the film, but the regular SDR projector is at least 4K, and you'll get the benefits of a large screen, Dolby Atmos and comfier seats. Each chain has a different name for what is, essentially, the same thing, and in the USA, you'll find these branded as Cinemark XD, Cineplex UltraAVX, Xtreme Xscape, Prime at AMC and Regal RPX. In the UK, the brands include Odeon iSense and Cineworld Superscreen.
You'll also find Thunderbolts* in 4DX, which involves seats that move in time with the action on screen and kick you in the back, along with air blasts, jets of water, and flashing lights. It's not for the faint of heart, and how well it works depends on the movie. I chose to see the rerelease of Star Wars Episode III: Revenge of the Sith in 4DX and was delighted with how well it worked – it certainly gave me an experience I couldn't replicate at home. However, with Thunderbolts* it's paired with 3D and, with my IMAX 3D experience as reference, I would not expect this to fare better here.
The final two non-standard formats will be ICE, which offers images from the movie showing on panels running down the sides of the theater. I've never experienced it, so I can't vouch for it, but you can find locations worldwide on its website.
ScreenX has additional footage specially formatted for larger screens that run down the sides of the theater to give you a more wrap-around experience. This worked tremendously for the racing movie Gran Turismo, but less so for every other movie I've tried, so I tend to avoid this.
The last format will be standard 2D, in 5.1 sound with a 1080p projector. Fine if you must, and it will be the budget option, but it's not going to provide the immersiveness that this effects-heavy and emotion-heavy movie deserves.