John Buck from Bayonne said: "I think it's a waste of money and people are being robbed. Fellow moviegoer Donetta Riley was not overly impressed either. One of the most powerful figures in the media world, Sony chief executive Howard Stringer, also concedes 3D has been problematic. He does not single out his subordinates at Sony but points the finger at a lazy mentality in Hollywood in general. You took it for granted.
You take the easy money for doing a 3D movie and charging higher prices for it, but the audience isn't stupid. It is not just the poor quality of 3D films that's causing audiences to lose interest in the format. I don't like that you have to put on glasses. I wish you could just go in and see 3D. The glasses are a problem. Audiences have complained of discomfort, hygiene concerns and the fact that they cannot turn to their neighbours and see them properly while a film is being screened.
But Professor Toby Miller, author of Global Hollywood 2, thinks there is a more fundamental ongoing problem with 3D that will be hard to correct.
In his interview with the Hollywood Reporter , Katzenberg blames his own industry's exploitative attitude towards the new format for the downturn. Everyone knows that some studios have been embarking on cheap 2D-to-3D conversions to take advantage of the current boom, even when the movies in question were never meant to be seen in stereoscope.
Yet to have one of the most powerful men in Hollywood describe the situation as "heartbreaking" underlines the extent of 3D fatigue among cinemagoers. Which is where Transformers comes in. Despite the latest instalment of the series being about as enjoyable as a role in a real-life re-enactment of The Human Centipede, Michael Bay's movie is being touted as this summer's torch carrier for 3D — its saviour, even. Katzenberg, in particular, reckons it's great.
Having previously avoided the format, Bay has conscripted James Cameron's people to ensure his first attempt doesn't end up sitting in the 3D naughty corner alongside Clash of the Titans come the end of the month. So what's the 3D like? Specific shots are clearly designed to fully exacerbate the 3D, and its use of both Beyond and, especially, Before The Window is exemplary.
The 3D does dwindle, but for the opening half of the film, it is as full-on and over-the-top as you'd expect from Michael Bay. And that's thoroughly meant to be a compliment. There was always going to be plenty of opportunities for Michael Bay to fling various items at his audience, as it is well known that the director loves an explosion. Films of this ilk don't always take advantage of these opportunities, though. Thankfully, Transformers: The Last Knight does, and you get to see all kinds of implements and debris propelled out of the screen right towards your face.
On a regular basis, too. Each time it occurs you're pulled closer and closer into the action sequences, and it makes The Last Knight even more bombastic. This use of depth of field helps to increase the spectacle of the blockbuster, giving viewers a better look at its vast array of action sequences, which seemingly stretch as far as the eye can see. There's also one scene in particular, which sees Optimus Prime floating through space, that's especially sumptuous to watch. Then, when Michael Bay places the camera just right, the depth of field also helps to make the Transformers, Mark Wahlberg , and the rest of the humans look cool as funk, too.
I saw some soot. And the opening credits penetrate into the theater. Sadly, that's about it. Conversely, this is the aspect of 3D that reaches beyond the screen, giving a deeper sense of depth to the film's world. Unfortunately, Bay's fondness for very tight close-ups truncates much of this option's use.
There are scenes of sprawling valleys, cavernous space ships, and bustling cities, but by and large the added depth is barely noticeable because Bay's camera is so often in motion. One scene where Beyond The Window does have impact involves the human heroes scuttling down some thick wires, making their way from a spaceship to a skyscraper.
An overhead shot looking down, down, down to the streets many stories below is shocking, and actually better sells their plight than a 2D version would. Those 3D glasses make 3D pop, but also make the movie darker. To combat this, 3D prints must be adjusted accordingly.
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