There’s one thing you can pretty much depend upon when it comes to movie reviews, and it’s this: The vast majority of critics will never announce that a film in question was shot within a 1.66:1 aspect ratio.
Olivia Wilde and Adam Newport-Berra‘s The Invite uses this a.r., and I may be the only critic or columnist who’s even mentioned this, much less written some sort of riff about it. Not absolutely but quite possibly.
Most regular critics don’t even notice 1.66:1, and those that do don’t feel it’s worth a toss.
Hollywood’s standard aspect ratios, of course, are 1.85:1 and 2.39:1. Step outside of these and some critics might take notice. But in this regard they’re generally a lazy-ass bunch.
Some will mention that a film has been shot within an Ultra Panavison 70 a.r. (2.76:1) because it’s fairly unusual and certainly calls attention to itself, one 21st Century example being Quentin Tarantino‘s The Hateful Eight.
Others may mention that a film has been shot in a very rare Movietone ratio (1.19:1), such as Robert Eggers‘ The Lighthouse.
But 1.66:1 gets no respect and zero salutes. Too subtle or something.
I for one adore this aspect ratio.