For me, the first Gladiator movie up there with other Ridley Scott classics, such as Blade Runner and Alien, as one of the greatest films of all time. While his more recent work has had mixed responses, it’s clear that there’s a huge amount of anticipation for this sequel. However, as great as the first one was, this is a follow-on that no one really asked for so with that expectation comes some fear. However, early buzz is largely positive, and I have a feeling that the octogenarian director will have another hit on his hands.
Whatever the result, one thing is certain—it’s going to be a spectacle, so you owe it to yourself to see it in the best cinema format you can—but which one to go for?
Filmed using the near-ubiquitous Arri Alexa Mini LF digital camera and finished in a 4K digital master, the choice is made somewhat simpler by the fact that the movie will be presented in 2.39:1 aspect ratio is all but one of the formats available (read on to find out the exception).
If you do go for regular 2D, note that the projector will likely be just 2K resolution, but sound is a huge part of the impact of a film and Gladiator II has a Dolby Surround 7.1 mix, so if your regular 2D screen offers this it should still be a thrilling experience.
4DX
The thrusts and slashes of steel on shields should translate well to the 4DX format, which offers high immersion through a plethora of tricks that include seats that move in sync with the action, along with numerous sensory effects, such as thumps in your back, blasts of air in your ear, splashes of water overhead and flashes of light. Is it fun—it can be, and I’d certainly shortlist it for this film.
ScreenX
Another interesting option is ScreenX, which presents a claimed 270° view of the action with extra image down the walls of the cinema. However, interestingly, with Gladiator II presented in 2.39:1 even in IMAX screens, ScreenX has the distinction of being the only format that will give you extra image. How effective this is, depends not only on the theater implementation itself but how extra image footage is used. While I loved seeing Gran Turismo in this format, it proved less compelling for me for The Creator, despite that movie’s director personally telling me to check it out in that format.
IMAX
So, onto IMAX then. Often the default choice for big action movies, Gladiator II was not made for the IMAX format, hence only receiving the “Experience it in IMAX” marketing tag. This means it has been upscaled to look good on the extra large screens using IMAX DMR technology. The bigger screens also mean bigger black bars – but that’s not necessarily an issue. I saw the extra-wide The Creator on the 1.43:1 IMAX screen in London and while it only used a central portion of the screen itself, it was still a fantastic image. Not only that but IMAX has huge, powerful, and precise audio, especially if you watch in IMAX Laser, which will always have 12-channel sound to match. To get the best IMAX image go to an IMAX screen with a laser projector: this will provide a better image compared to those that use a Xenon-based lamp, offering brighter, more colorful images with better contrast.
Dolby Cinema
The Dolby Cinema format combines Dolby Vision and Dolby Atmos. The former uses a Christie projector delivering up to 108 NITS of brightness (in plain English – that’s very bright), with an extended dynamic range, offering rich colors, bright whites, and deep blacks. The latter is the leading object-based 3D surround audio system, which means as well as being superbly sharp and clear it can place sounds precisely in a 3D space, making for an immersive experience. The bass isn’t too bad either. Many Dolby Cinemas use a 1.85:1 screen, which will mean black bars at the top and bottom for Gladiator II, but as those blacks are so inky, you won’t even notice. With great seats to match this is a premium way to watch the film.
Premium Large Format – Including HDR by Barco
Premium large format screens typically offer a much larger than standard screen, 4K laser projection, Dolby Atmos audio, and better than average seats. This is a much better option than the standard 2D screen, but I would normally put this a step behind a proper Dolby Cinema. However, as of today, there are six locations worldwide that could arguably lift it above Dolby Cinema in the pecking order.
As I’ve covered recently, HDR by Barco is a brand-new format that technically offers the highest quality cinema images. Specs-wise it uses a technology called Light Steering to send brightness to where it needs to be helping it achieve its 300 nits of brightness. This helps it deliver true high dynamic range images to the cinema screen, with the brightest whites, the deepest blacks and great colors. You can read my interview with one of its inventors to learn more about Light Steering.
As I covered recently, HDR by Barco is available in just five premium large format locations in the USA operated by Regal, AMC and B&B—and as of today is available in a sixth location; the Superscreen at Cineworld Leicester Square, London. Gladiator II is the first film opening there in HDR by Barco format from November 22nd, 2024. Complementing the new Barco projector is a brand-new screen— a Harkness Hugo Screen. This is designed to account for laser speckle, where patterns of light and dark spots occur when a laser beam hits a surface, and with the amount of light the Barco HDR LS4K-P projector is pushing out it will have its work cut out.
With a combination of HDR by Barco and Dolby Atmos I have high hopes for the new upgraded Superscreen at Cineworld Leicester Square especially as it’s relatively local to me. I’m looking forward to seeing it in action for myself at the Royal Premiere of Gladiator II and will report back in due course on whether it lives up to expectations.
