Even its mere 48fps was enough to occasionally expose the seams of the makeup, sets and costumes; generally, HFR has the effect of exposing the artifice of cinema. Unfortunately, there aren’t too many side-by-side comparisons of 120fps video on the internet; if you’re reading this on a phone or laptop, your screen probably can’t handle more than 60fps, and neither can YouTube. Most HFR showings of Gemini Man were in 60fps to begin with (only fourteen screens across the U.S. played it at the full 120fps; for a comparison of different viewing experiences, do read Bilge Ebiri).
So, to illustrate just some the effect created by HFR, here’s the trailer for Gemini Man in 24fps, followed by the same trailer at 60fps:
Can you spot the difference? The 120fps version of the film is similar in aesthetic to what you see in the latter video, though its effects are compounded — for better and for worse.
Gemini Man opens with Will Smith’s Henry Brogan carrying out one last hit, as agents in movies are wont to do before their governments turn on them. Brogan tracks a bullet train across the screen and takes aim from a distance; right off the bat, Lee shows off the capabilities of his technology. Lateral movement is generally hard to follow unless anchored to a specific object — try slowly moving your eyes from left to right and you’ll experience a bit of a jitter. At 120fps, motion across the width of the screen becomes smooth and hyper-visible; as we follow the train through Brogan’s eyes (and through his scope), the experience becomes abstract, heightened in order to place us in the point of view of a hyper-focused, hyper-competent sniper.
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