Suicide Squad appears in an aspect ratio of approximately 2.40:1 on this Blu-Ray Disc. This became a satisfying presentation.
For the most part, sharpness looked good. A few interiors seemed a smidgen soft, but not to a substantial degree. Instead, the majority of the flick offered solid delineation. No moiré effects or jaggies appeared, and both edge haloes and print flaws remained absent.
The palette of Squad emphasized a dull teal impression. A bit of orange and occasional other hues also materialized, but the blue-green dominated. Though the colors never seemed impressive, they worked given the movie’s production design.
Blacks seemed appropriately dark and dense, and shadows were positive. Much of the movie took place at night and during a variety of low-light situations, and the image displayed these dim sequences in an accurate manner. In the end, the image worked well.
Even better, I felt impressed by the dynamic Dolby Atmos soundtrack of Squad. Because I don’t have an Atmos-equipped system yet, this played back as a Dolby TrueHD 7.1 mix, and it delivered an exciting presentation.
With nearly wall-to-wall action, the movie came with a slew of chances to open up the soundscape, and it took good advantage of these. Vehicles, gunfire, explosions and other forms of mayhem occupied the various channels and blended together in an exciting fashion. These elements gave the movie kick and involvement.
Audio quality also satisfied. Music was bold and bright, and speech appeared natural and concise, with no intelligibility issues. Effects came across as accurate and dynamic, with real punch when necessary. These factors turned this into a top-notch soundtrack.
In this package, we get two versions of Squad. Disc One provides the movie’s Theatrical Cut (2:02:53) while Disc Two includes an Extended Edition (2:14:32). How do the two differ?
Most of the added 12 minutes or so comes from short tidbits. By my count, we get brief extensions to eight scenes, and none of these come across as anything significant. I guess a segment in which Flag bargains with Deadshot adds a little merit, but otherwise, the additions lack substance.
The notable exception comes from a ninth alteration, a sequence that goes from 1:05:09 to 1:09:56. In this segment, Harley flashes back to earlier experiences with Joker, and she also taunts/interacts with other Squad members.
At almost five minutes, this easily becomes the longest new scene. Does it add anything useful to the film? No – and I think it compounds one of the Theatrical Cut’s problems.
As I mentioned in the body of the review, I feel Squad emphasizes Harley too much, so the addition of more Harley and Joker just intensifies the issue.
The extended cut lacks a scene I thought it would – and should – include: a formal introduction to Slipknot. While every other member of the Squad gets backstory, Slipknot just appears out of nowhere, without explanation. How does this make sense to the filmmakers?
When I watched the elongated version of Batman v. Superman, I thought the new/longer scenes significantly improved the film. Those changes made a frustrating movie more coherent and much more enjoyable.
I hoped to say the same for the extended Squad, but I can’t. The additions do nothing to fix the movie’s problems – and they just make some of them worse. Fans who thought the longer Squad would improve it will find disappointment.
Discs One and Two provide the same extras, almost all of which revolve around featurettes. Task Force X: One Team, One Mission runs 23 minutes, eight seconds and involves writer/director David Ayer, comics writers John Ostrander and Jai Nitz, executive producer Geoff Johns, co-producer Andy Horwitz, producers Richard Suckle and Charles Roven, and actors Viola Davis, Joel Kinnaman, Will Smith, Margot Robbie, Adewale Akinnuoye-Agbaje, Jai Courtney, Jay Hernandez, and Karen Fukuhara.
“Mission” looks at the comic book history of the Suicide Squad and their adaptation to the big screen, cast and characters. This becomes a nice overview of the different roles, and I especially like the text info about the comic roots of all the parts.
Next comes Chasing the Real, a nine-minute, 37-second piece with Ayer, Davis, Akinnuoye-Agbaje, Suckle, Roven, Robbie, Hernandez, Kinnaman, Johns, Smith, production designer Oliver Scholl, costume designer Kate Hawley, tattoo makeup designer Rob Coutts, military advisor Kevin Vance, and visual effects producer Ed Ulbrich. The show discusses set/costume/character design, the movie’s attempts at realism, action and various effects. Despite a short running time, “Chasing” includes a solid take on its topics.
During the 14-minute, 29-second Joker and Harley, we hear from Robbie, Roven, Ayer, Suckle, Hernandez, Howitz, Hawley, Johns, and actors Jared Leto and Cara Delevingne, As implied by the title, this piece looks at the design and execution of the Joker and Harley characters. Though it tends toward praise a little too often, it still offers a good view of the appropriate elements.
By the way, does anyone else think Leto’s Joker stole his voice from Jim Carrey in The Mask?
After this we get Squad Strength and Skills. It goes for nine minutes, three seconds and features Ayer, Smith, Robbie, Delevingne, Courtney, Suckle, Horwitz, Roven, Akinnuoye-Agbaje, Courtney, Fukuhara, Hernandez, Kinnaman, Vance, stunt/fight choreographer Richard Norton, 2nd unit director/stunt coordinator Guy Norris, stunt coordinator Glenn Suter, stuntman Kirk Krack, martial arts trainer Richard Mesquita, and physical trainer Pieter Vodden. “Skills” views actor training and stunts/action. Like its predecessors, it brings us a nice investigation of its domains.
With Armed to the Teeth, we discover an 11-minute, 48-second reel with Ayer, Smith, Roven, Suckle, Leto, Kinnaman, Vance, Johns, Fukuhara, Courtney, Robbie, property master Dan Sissons, lead designer/fabricator Taku Dazai, FX costumer Adam Smith, and military consultant Tyler Gray. “Armed” looks at props, with an emphasis on weapons. It presents another satisfying featurette.
This Is Gonna Get Loud goes for 10 minutes, 54 seconds and gives us notes from Ayer, Smith, Courtney, Robbie, Kinnaman, Norris, Suter, Ulbrich, Scholl, Hernandez, visual effects supervisor Jerome Chen and special effects coordinator Scott R. Fisher. “Loud” covers various effects and the creation of action sequences. “Loud” becomes more praise-filled than the others, but it still delivers a reasonable amount of material.
Finally, The Squad Declassified fills four minutes, 19 seconds. It gives us basic about participants in the film’s battles. The show serves as a decent little tutorial, with some fun details along the way.
A Gag Reel spans two minutes, four seconds. It shows us a fairly standard collection of goofs and giggles, so don’t expect anything memorable.
Disc One opens with ads for Batman v. Superman: Dawn of Justice and Wonder Woman. No trailer for Squad appears here.
An extension of the DC superhero universe, Suicide Squad presents a decidedly lackluster adventure. Even with a slew of interesting characters, the movie proceeds in a sluggish way and fails to deliver real excitement. The Blu-ray brings us strong picture and audio as well as a pretty good mix of bonus materials. Squad winds up as a disappointment.