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I think - when it's the right film and executed well - it can really help in creating an immersive experience. For non-IMAX projects, I like how Wes Anderson used academy ratio, flat widescreen and scope widescreen in his last movie to differentiate time periods. Or how Douglas Trumble went from...

I don't think the entire film was shot in a way that it could be presented at 1.90:1 without cropping. I believe Michael Bay used a combination of 35mm and digital cameras shooting at 2.35:1, plus the new IMAX-branded digital camera which shot at 1.90:1. I think the idea was to have shifting...