How's the extended duel between Jinx and Snake Eyes?

The Wolverine's conversion to 3D is an often quite artful affair, though some may think they've mistakenly put in the 2D version as the film gets underway and there's a decidedly flat view of the waterside at Nagasaki. That soon changes as the camera pans right and a guard tower of the prisoner of war camp comes into view and is clearly placed in the foreground. Some effects that one might expect to be spectacularly dimensional—like Logan in his "prison tube" or even the nuclear explosion itself in the opening sequence—are curiously compressed, but just as often more subtle moments, like a long metal railing Mangold pans across in the funeral scene or even the many scenes in traditional Japanese homes where paneled screens offer built in planes and frames of reference, significant dimensionality is achieved. What may irk some 3D aficionados is how dark the film tend to be, especially in its latter third, which is when one of two huge set pieces plays out. This darkness automatically robs the image of depth and dimensionality and seems to work against the very setting of this climax, which is full of huge towers, protruding catwalks and other phenomena that would seem to be the perfect building blocks for a great 3D experience. One kind of odd thing about this presentation—pay attention to the difference between the rain sequences and the snow sequence. When it rains, there's one sheet of rain pouring down in the foreground, with seemingly nothing going on in the background. In the snowy sequence which sets up the climactic scene in the mountaintop fortress, it's a much more organic, natural looking presentation, with flakes of snow clearly in different dimensional planes.