Sully

Clint Eastwood withholds the ditching at the start, opening on a nightmare where the aircraft hits buildings, and the river landing does not arrive whole until much later. Much of the 96 minutes goes to a hearing room and simulator runs, making this a procedural about whether a decision was defensible, the same few minutes rerun under different inputs. Because the images were composed for IMAX, the cockpit and cabin are shot tall and tight, and much of the confinement is carried by that ratio alone. It was made almost entirely with IMAX cameras, cinematographer Tom Stern working with large format Alexa bodies, and IMAX leadership called it the first release where virtually the whole film used the technology. The home video edition does not carry that ratio and shipped only in the cropped frame. Robert Benzon, who led the real inquiry, objected to how investigators were drawn, saying they are not the KGB or the Gestapo, and Sullenberger asked that their names be cut from the script. A good fit if you want the landing rerun as evidence in a hearing rather than delivered as a set piece, and will watch on a screen that keeps the tall frame. Not a fit if you will watch the standard home release, which lacks the ratio the film was composed for.