Much has been made of the film’s cinematographic aspects, being the first film shot almost entirely with the new digital Alexa IMAX 65mm camera at an aspect ratio of approximately 1.90:1. Released simultaneously in 2.40:1 matted widescreen in general release venues as well as select 35mm print releases, this is one of those movies which definitely shows what the technology can do while also mostly being a modestly sized Eastwood drama. Outside of the emergency landing reenactment, most ofis comprised of medium close-ups of the actors and is mostly spent in offices, homes and courtrooms, making it an unusual choice for the IMAX camera. Tom Stern’s cinematography sports Eastwood’s usual penchant for muted colors and soft, unspectacular lighting, again begging the question why the first film shot almost entirely with IMAX cameras should be this one. That said, Alexa IMAX 65MM when seen properly in an IMAX venue is as close to 70mm film exhibition as digital photography and projection has ever come, for now. Scenes of aerial photography do indeed sport a depth of field and sharpness unseen in previous digitally photographed movies as well as a more realistic looking frame rate and detail on the actors’ faces is stronger than you’d expect from digital. While it still has a long way to go before it can actually compete with the splendor of true 70mm, it’s a step in the right direction.