Pictures, RatPac-Dune Entertainment, DC Films, and Atlas Entertainment, and distributed by Warner Bros.
It should be noted that only the theatrical cut is presented in 4K, with the extended cut relegated to a standard Blu-ray.Suicide Squad is a 2016 American superhero film based on the DC Comics supervillain team of the same name. The presentation also handles the black levels extremely well, revealing unseen shadow detail above and beyond the Blu-ray counterpart, and, even though this is quite a gritty affair on some stylistic levels (which doesn't necessarily lend itself well to the new format), it polishes up surprisingly nicely in 4K, and makes for a far more even experience, with none of the fluctuations that marred Batman v Superman. Indeed it seems somewhat ironic that the very effects sequences which handicap the ultimate resolution of the piece (due to being rendered in 2K) are the moments that most commonly shine here, popping with a surge of broader-range colour gamut and benefiting from the improved peaks at both ends of the spectrum. Thankfully High Dynamic Range (HDR) and Wide Colour Gamut (WCG) once again save the day, delivering an image which is brighter and more colourful, rendered with vibrancy and vitality. HDR and WCG save another 2K DI '4K' release On the other hand, though, it's far from the unpleasant mess it's been labelled and is still a watchable, diverting effort. Ultimately Ayer has continued in his trend for hit and miss ensemble flicks, and in some ways, superhero fans won't really miss anything by skipping this addition. It makes sense to give her a spin-off, but it's a shame that probably means more Leto to ruin things. baseball bat (let's not even talk about boomerangs). Margot Robbie almost makes up for it, absolutely nailing Harley, and nearly covering up for the fact that not only is Leto worthless, but also the fact that her own character is dubiously included in a squad who patently don't need her and her. It's doubtful that toxic waste has ever been made to look quite so much like a milk bath. There's more from Harley, in quite a significant flashback, but this also means more from Jared Leto's Joker - and he offers one of the worst ever representations of the colourful character. The added touches to the secondary characters are welcome, but the extra moments with Will Smith's headliner Deadshot - who never convinces as a villain - appear repetitive. Superman extended cut, with the extra ten minutes or so amounting to little more than a few extra lines and a few extra sequences. Hints of a better structure are present in the extended cut, but it's far from the saving grace that was Snyder's Batman vs. The whole thing feels more Guy Richie than David Ayer, which would be a good thing had they not dropped a quarter of a billion on it and tinkered with the final cut so much. There's too much - but conversely not enough - going on, with the intro montages the best bits, and the actual plot so predictable and self-serving that you wonder how they can stretch it out over two hours. It's a dirty product, sloppily spliced, with stats-cards splayed across the screen and neon-fueled flashbacks dusted throughout to help cover up the seams. The fast-track of DC's equivalent to the Marvel Cinematic Universe continues in its shotgun approach, delivering a surprisingly successful (at least in terms of Box Office receipts) ensemble piece that's loud, noisy, and doesn't really have a clue what it's doing (or what it's supposed to be doing) but still manages to just about pull it off on the anarchic entertainment front.
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