I've mentioned this in the past, but one of the things I loved about Ico on PS2 was that it carried on the directorial handling of the fixed-camera with the feel of control and the wider viewing range of the 3D controllable camera.
Each location in the game had its camera positioning pre-programmed, but it was fluid. As you moved about, the camera could track, with pans and zooms and other motions, or it could re-position to another vantage point entirely to get around an obstacle or to catch a new action. Generally each area had one camerapoint that followed action across that room rather than the cut-cut-cut of a Resident Evil fixed camera (even RE Code Veronica, which is also a hybrid, cut often to reframe the action between spots on a map... frequently disorienting the player in the process.) The views were cinematic and varied, but generally were positioned for gameplay purposes rather than just mood and wow-factor - if there was a puzzle to solve or a danger upcoming, the clues were in the frame, and if there was an action sequence with the shadow creatures, it did a good-enough job showing you, Yorda, and the enemies as need be to survive the encounter. Most interestingly, in this case, the camera
was controllable, despite the directed pre-set camera angles, but the control was from the viewpoint of the cameras. You didn't have full range of putting the camera everywhere, instead you could move the camera around from within its vantage point, almost like a security camera, and see much of the rest of the world. It maintained the style, but if you were getting frustrated or curious, the option was there to see a little more. And it picked good views for playing the game without any required input from the player (you could play the whole game without ever touching the cam control,) whereas modern games can sometimes be as much work on the camera stick as there is on the player movement controls. The Ico camera wasn't perfect (it got swimming in some places if it the player moved back and forth across camera triggerpoints,) but I always liked how it showed me the world just enough while still framing the scenery in the best possible light.
Sadly, it didn't really catch on as a way to play games (though it's similar to the God of War 1-3/A camera system, and there are some games or areas inside a game with managed cameras.) I do wish there was more of it, as I thought it was a great way of merging cinematic flair and player agency. And with a modern implementation, a given camera system could have better or more robust AI for choosing the right angle or camera move for the moment.