Glass appears in an aspect ratio of approximately 2.39:1 on this Blu-ray Disc. The movie came with an appealing presentation.
Overall sharpness remained good. A smattering of wider elements or interiors could seem a little soft, but those didn’t create real distractions.
Instead, the movie tended to be accurate and concise. I noticed no shimmering or jaggies, and the film lacked edge haloes or source flaws.
The palette mainly opted for a mix of the usual orange and teal, though occasional bouts of other tones – like a pink room or some purples – appeared as well. Within the stylistic choices, the hues looked fine.
Blacks were deep and dense, while low-light shots depicted appropriate clarity. The image seemed to be more than satisfactory.
With plenty of action scenes, the movie’s Dolby Atmos mix often opened up to give us active information. Downconverted to Dolby TrueHD 7.1, these used the various speakers to create an involving, effective sense of these situations and circumstances. The elements meshed together well and moved in a satisfying manner.
Audio quality also pleased. Music was peppy and full, while dialogue sounded accurate and concise.
Effects demonstrated good clarity and range, with fine low-end response as necessary. This wasn’t quite a demo-worthy track, but it fared well.
In addition to an Alternate Opening (2:13), we get 12 Deleted Scenes. These fill a total of 13 minutes, 36 seconds.
The “Opening” introduces the movie’s main location earlier than in the final cut, while the rest of the scenes tend to add character beats. I can’t claim any of these bring us remarkable information, but they’re watchable and moderately interesting.
We can view the scenes/”Opening” with or without introductions from writer/director M. Night Shyamalan. He gives us some notes about the sequences and why they didn’t make the movie. These add good insights.
A slew of featurettes follow, and The Collection of Main Characters splits into four subdomains. All in all, these span eight minutes, 43 seconds and include notes from Shyamalan and actors James McAvoy, Samuel L. Jackson, Anya Taylor-Joy, Charlayne Woodard, Spencer Treat Clark and Sarah Paulson.
As expected, the clips look at cast, characters and performances. Nothing especially interesting appears in these fluffy segments.
Next comes A Conversation with James McAvoy and M. Night Shyamalan. In this five-minute, 10-second reel, the actor and filmmaker discuss aspects of the production. A few decent nuggets emerge, but much of the chat feels superficial.
With Bringing the Team Back Together, we find a two-minute, 54-second clip that offers notes from Shyamalan, Jackson, Clark, McAvoy, Woodard, Taylor-Joy, Paulson, 1st AD John Rusk, key grip Jon Sibert, A Camera 2nd Assistant Leon Sanginiti Jr., scenic charge Nell Stifel, and producer Jason Blum.
They tell us about how many cast/crew members return from prior Shyamalan projects and convey that he heads a happy cinematic family. Virtually no information of use emerges here.
David Dunn Vs. the Beast goes for two minutes, 11 seconds and features Shyamalan, McAvoy, Blum, executive producer Steven Schneider, and stunt coordinator Manny Siverio.
We get some basics about stunts and action. Unfortunately, the emphasis remains on promotion and not substance.
After this we find Glass Decoded, a two-minute, 52-second piece with Shyamalan. He discusses connections to earlier movies as well as color design. This becomes a decent little look at those areas.
Up next we get Breaking Glass. It goes for one minute, 28 seconds and features McAvoy, Siverio, and Shyamalan.
“Breaking” brings a few more basics about stunts. Like “Dunn”, it becomes largely puffy and superficial.
During the two-minute, 54-second Connecting the Glass Universe, we hear from Shyamalan, Jackson, Paulson, McAvoy, Clark, and Taylor-Joy. They discuss the links to Unbreakable and Split. It lacks much depth.
Via Behind the Lens, we locate a two-minute, 46-second featurette with Taylor-Joy, Paulson, McAvoy, Blum, Shyamalan, Clark, producer Ashwin Rajan, storyboard artist Brick Mason, and producer Marc Bienstock.
Essentially “Lens” gives us praise for Shyamalan. Don’t expect more from it than that.
Music comes to the fore with The Sound of Glass. It spans one minute, 50 seconds and includes Shyamalan and composer West Dylan Thordson. We get a few notes about the score in this passable overview.
Visuals take the stage for Enhancing the Spectacle, a two-minute, 53-second segment with Shyamalan, visual effects executive producer Bob Lowery, visual effects supervisor Ruben Rodas, senior visual effects supervisor Edwardo Mendez, and CG supervisor Dan Borstein.
“Spectacle” discusses some visual effects. It comes with a smattering of insights, though its brevity limits its usefulness.
Raven Hill Memorial goes for two minutes, 16 seconds and offers statements from Shyamalan, Jackson, Taylor-Joy, Paulson, Bienstock, production designer Chris Trujillo and location manager Staci Hagenbaugh.
This clip covers the movie’s main location and set. It becomes a moderately engaging reel.
Finally, Night Vision runs one minute, 56 seconds and offers info from Shyamalan, Mason, Blum, Paulson, and director of photography Michael Gioulakis. We get more praise for Shyamalan in this forgettable sequence.
The disc opens with ads for Seven in Heaven, Fighting With My Family, Doom: Annihilation and Arctic. No trailer for Glass appears here.
A second disc presents a DVD copy of Glass. It includes the deleted scenes, the alternate opening and “A Conversation” but it lacks the other featurettes.
After more than 18 years, M. Night Shyamalan concludes his “Unbreakable Trilogy” with Glass. Though not on a par with the first film in the series, it seems vastly superior to the silly Split and it finishes matters on a positive note. The Blu-ray boasts very good picture and audio as well as a long but largely superficial set of supplements. Glass gives us a good superhero flick and stands as Shyamalan’s best work in years.