Superbad appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. I felt pleased with this strong transfer.
Sharpness seemed solid. Virtually no instances of softness occurred here, so the movie looked tight and concise. Moiré effects and jagged edges presented no concerns, and I noticed no edge enhancement. Except for some intentional “defects” in the opening credits, no print flaws materialized; the film remained clean and fresh.
Superbad went with an amber/orange tone as part of its Seventies throwback feel. This wasn’t the most dynamic choice, but it came across well within those stylistic choices. Blacks tended to be dark and rich, while shadows showed nice smoothness. Everything about the transfer worked well.
As for the film’s Dolby TrueHD 5.1 soundtrack, it offered a functional effort and that was all. Of course, I didn’t expect a dazzling soundfield from this sort of comedy, and I got exactly what I anticipated. Surround usage stayed limited most of the time. A few “action” scenes like a fight or some gunshots opened things up in a very minor way, but the rear speakers really had little to do here.
In those forward channels, the music provided decent stereo separation and opened up the mix reasonably well. There wasn’t a whole lot of activity or movement, but they conveyed a passable sense of space and place. The track functioned appropriately for the story.
Audio quality appeared fine. Dialogue was consistently warm and natural, and speech displayed no concerns related to edginess or intelligibility. Effects were a minor component of the mix, and they seemed appropriately subdued and accurate; there wasn’t much to hear, but the various elements were clean and distinct.
Music lacked much low-end much of the time. Bass wasn’t poor, but it seemed lackluster. Otherwise the music came across as acceptably distinctive. This was a standard “comedy mix” and became a decent reproduction of the material.
How did the Blu-ray compare to the original DVD? Audio was similar; the lossless TrueHD track showed a bit more breadth, but the nature of the mix meant it didn’t have much room for growth.
Visuals offered a different story. I thought the DVD seemed somewhat fuzzy and bland, but the Blu-ray seemed noticeably tighter and livelier. This became a substantial improvement in quality.
The Blu-ray reproduces the DVD’s extras, and we begin with an audio commentary from director Greg Mottola, producer Judd Apatow, writer/executive producer Evan Goldberg, writer/executive producer/actor Seth Rogen, and actors Jonah Hill, Michael Cera and Christopher Mintz-Plasse. Some of them sit in New York and some of them in LA, but a teleconference allows them all to participate together during this running, screen-specific piece.
We start with a look at the project’s origins and development. From there we learn about cast and performances, how others came onto the flick, various aspects of the shoot, real-life influences for some story events, shooting digitally, and a mix of other issues. The commentary works well as a look at the production, and it also succeeds as a piece of entertainment. Actually, we get more time devoted to semi-related asides than we do actual info related to the flick.
That can often be a recipe for disaster, but it goes fine here. Some fun stories pop up, and there’s enough useful info to make sure that the piece functions in that domain. It’s a profane but amusing and interesting chat.
New to the Blu-ray, the Supermeter keeps track of some aspects of the movie’s dialogue. It tallies comments in three categories: “Profanity and Curse Words”, “Genital, Sexual References and Innuendo” and “McLovin’”. This placea a counter in the lop left corner of the screen. It’s pointless but inoffensive.
Seven Deleted and Extended Scenes fill a total of 12 minutes, 58 seconds. These include “Evan’s House” (3:00), “Izen” (0:47), “Slater Talks About His Wives” (2:06), “Party Dudes Make Evan Dance” (1:59), “Jules Party” (1:07), “’What Do You Guys Do Anyway?’” (1:163), and “The Semen Conversation” (3:14). None of these offer anything substantial, and they certainly don’t contribute any excised story threads or themes. However, they are amusing, so they’re good to see.
More cut material comes from Line-O-Rama. It offers a four-minute and 15-second collection of alternate lines. These mostly come from scenes that made the flick but provide different takes. That makes them entertaining.
After this we find a four-minute and 28-second Gag Reel. These offer the usual goofs and giggles. A few interesting alternate lines also appear, but not enough to allow this to rise above the level of the standard blooper nonsense.
For something unusual, we head to Cop Car Confessions. A 33-minute and 40-second collection of short pieces, it takes a bunch of actors, pops them in the back seat of the Slater and Michaels cruiser and emulates Taxi Cab Confessions.
This acts as a really fun extra. We find folks like Jane Lynch, Chris Kattan, Justin Long and Apatow himself as they play perps taken into custody. A lot of entertainment results from this quirky and cool addition to the package.
With that we move to the 13-minute and four-second The Making of Superbad. It offers the usual mix of movie clips, shots from the set and interviews. We hear from Rogen, Goldberg, Apatow, Mottola, Hill, Cera, Mintz-Plasse, and actors Martha MacIsaac, Emma Stone and Bill Hader. The show covers the basics of the project’s origins and development, as well as some cast and crew. Most of the info also appears in the commentary, so you won’t learn much here. However, some of the behind the scenes bits are good, especially since we get to meet the “real Fogell”.
Briefly seen in the film, The Vag-tastic Voyage goes for one minute, 12 seconds. It lets us see the Internet porn video in its entirety. I wouldn’t call it particularly stimulating, but it’s nice that we can view it on its own.
Next we get a view of the script’s Table Read. Actually, we find two different periods of table reads. We see some from 2002 in which “Seth reads Seth”, and we also check out 2006 reads. All together, these fill 28 minutes and 13 seconds.
Since it uses other actors in the roles, the 2002 clip is the most interesting; in addition to Rogen as Seth, Martin Starr plays Fogel and Jason Segel reads Evan. The 2006 piece features the actors from the film, so it’s less compelling but still worth a look.
A collection of Auditions fills 13 minutes, 15 seconds. We discover try-outs for Cera (1:56), Hill (5:37) and Mintz-Plasse (5:41). Clips like this are always cool to see, and these aren’t exceptions to that rule. Actually, they’re surprisingly good – the first two, at least. Most auditions usually seem stiff and awkward, but for these, the actors feel right from the start. Mintz-Plasse isn’t as strong, mostly because he doesn’t know what to do with his hands, but he’s still positive.
For something unusual, we head to Michael’s Voicemails from Jonah. We hear four messages that Hill left for Cera at various points in the production. Cera also provides some text notes to put the voicemails in context. These reveal that Hill didn’t have to act much in the movie, as he naturally is profane and goofy. They’re entertaining.
Another quirky feature arrives via the four-minute and 46-second Snakes on Jonah. In it some weirdos put various reptiles and insects on Hill, who doesn’t enjoy the experience. I’m not sure what purpose this featurette serves, and it’s not as amusing as one might expect.
More behind the scenes footage arrives with Dancing Title Sequence. The three-minute and 17-second clip shows the filming of the material used for the film’s opening. It’ becomes moderately interesting, as it’s nice to see the live-action shots they used.
Something more compelling comes to us with the three-minute and one-second TV Safe Lines. This shows us some of the replacement scenes shot for TV broadcast and also depicts the discussions that resulted in the “safe” language. “Lines” turns into a surprisingly fascinating short, as it shows the challenges that come with this territory.
Everyone Hates Michael Cera. The six-minute and 43-second clip concentrates on the alleged animosity everyone on the film felt toward Cera. A similar piece showed up on Knocked Up. While it doesn’t fool anyone, of course, it’s still reasonably funny.
Actual behind the scenes material appears during the On-Set Diaries. This 17-minute and 44-second collection offers plenty of images from the set, as we watch various aspects of the production. There’s more joking around than usual for this kind of material, so don’t expect tons of cinematic insights. Nonetheless, it presents enough cool glimpses of the shoot to become worthwhile.
Next comes The Music of Superbad, a 13-minute and seven-second featurette. It presents notes from musicians Catfish Collins, Bernie Worrell, Jabo Starks, Clyde Stubblefield and Bootsy Collins. They tell us a little about their past work and the film’s music. It’s not a terribly substantial piece, but it’s good to see all these legends play together.
We head back to fake negativity with the three-minute and 30-second Press Junket Meltdown. Hill and Cera go off after a series of antagonistic questions. The short offers mild amusement at best.
Finally, we get an advance look at 2008’s Pineapple Express First Look. The four-minute and 26-second clip simply shows one scene from the film; it features Rogen and James Franco. Though out of context, it’s amusing and sets the stage for the flick well.
The disc opens with an ad for Walk Hard: The Dewey Cox Story. This also appears in the Previews area along with clips for Talladega Nights, Reign Over Me, Vantage Point, Spider-Man 3, Ghost Rider, Resident Evil: Extinction, Close Encounters of the Third Kind Hostel Part II and upcoming Blu-Ray titles.
If you expect a deep, inspiring cinematic journey, don’t watch Superbad. If you want a crude but clever and often very funny romp, Superbad will be a fine choice. The Blu-ray presents decent picture and audio as well as a fun set of extras. This turns into a quality release for an amusing film.
To rate this film, visit the DVD review of SUPERBAD