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The Suicide Squad has a solid 7.1 channel surround track, so I wondered how much the immersive experience would improve upon it. In listening to the Dolby Atmos surround mix I found it to be of the active variety that made effective use of the platform. Its use of audio objects is a mix atmospherics, discrete effects and ambient music bleed. This creates an appreciable level of immersion that coincides with the onscreen events.
Beginning with the film's opening encounter/beach landing, followed later by the armored truck crash, there are instances where the mix generates a noticeable improvement in dimension and depth of field as the track conveys the breadth/expanse of interiors/exterior venues, flying debris and nearfield sounds. Things ramp up when the team gets to Jotenheim as the soundstage bristles with enveloping ambience, palpable dynamism and discretely placed effects that engage the listening area. While these sequences sound very good in 7.1, they are taken to the next level in the Amos mix.
Underrated movie. Would've made a much bigger splash had it been released in theaters as planned instead of being shuffled onto Max because of the pandemic. IMO, one of James Gunn's best.
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It's WB, they're stingy when it comes to the digital expiration date.
My "policy" is to leave subpar reviews for the movies to express my disapproval/dissatisfaction of the useless/expired digital codes... if everyone did that they they might change.
Last edited by TidalWaveOne September 13, 2024 at 07:27 AM.
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Dolby Atmos Review:
The Suicide Squad has a solid 7.1 channel surround track, so I wondered how much the immersive experience would improve upon it. In listening to the Dolby Atmos surround mix I found it to be of the active variety that made effective use of the platform. Its use of audio objects is a mix atmospherics, discrete effects and ambient music bleed. This creates an appreciable level of immersion that coincides with the onscreen events.
Beginning with the film's opening encounter/beach landing, followed later by the armored truck crash, there are instances where the mix generates a noticeable improvement in dimension and depth of field as the track conveys the breadth/expanse of interiors/exterior venues, flying debris and nearfield sounds. Things ramp up when the team gets to Jotenheim as the soundstage bristles with enveloping ambience, palpable dynamism and discretely placed effects that engage the listening area. While these sequences sound very good in 7.1, they are taken to the next level in the Amos mix.
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Our community has rated this post as helpful. If you agree, why not thank TidalWaveOne
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Our community has rated this post as helpful. If you agree, why not thank MrAperture
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