The Flash appears in an aspect ratio of approximately 1.90:1 on this 4K UHD Disc. A true 4K product, this Dolby Vision presentation offered a stellar image.
Sharpness seemed strong. Nary a hint of softness impacted the image, so it remained tight and concise.
I saw no shimmering or jaggies. Both edge haloes and print flaws remained absent.
Like every other modern action movie, Flash opted for an amber/orange and teal orientation, though it came with splashes of other hues as well. The disc depicted them in an appropriate manner, and HDR added range and impact to the tones.
Blacks showed good depth, and shadows offered largely nice clarity and smoothness. HDR contributed power and force to whites and contrast. In the end, the movie provided pleasing visuals.
Downconverted to Dolby TrueHD 7.1, Flash brought us a strong Dolby Atmos soundtrack. As one would expect, the soundscape opened up best when it indulged in its many action sequences.
These used the various channels in a vivid, immersive manner that placed the elements in logical spots and meshed together well. The track gave us a strong sense of place and action.
Audio quality also pleased. Speech remained natural and distinctive, while music was full and rich.
Effects came across as accurate and dynamic, with tight low-end. I liked this mix quite a lot.
As we head to extras, we find a mix of featurettes. Worlds Collide runs 36 minutes, 55 seconds and brings notes from director Andy Muschietti, producer Barbara Muschietti, stunt coordinator Eunice Huthart, vehicle stunts Nick Murray and Nico Ferrari, acting double Ed Wade, production designer Paul Austerberry, executive producer Marianne Jenkins, construction manager Ray Barrett, costume supervisor Dan Grace, costume FX supervising modeler Pierre Bohanna, director of photography Henry Braham, composer Benjamin Wallfisch, supervising locations manager Amanda Stevens, VFX supervisor John Desjardin, 2nd unit director Robert Alonzo, makeup department head Victoria Down, editors Paul Machliss and Jason Ballantine, special FX supervisor Dominic Tuohy, and actors Jeremy Irons, Ezra Miller, Sasha Calle, Ron Livingston, Maribel Verdú, Gal Gadot and Michael Shannon.
“Collide” offers a general production diary that touches on topics like stunts and training, sets and design, various effects, vehicles, costumes, photography, music, and editing.
“Collide” doesn’t offer the most coherent piece, as it flits around from topic to topic. Nonetheless, it gives us a nice array of insights, and ample footage from the shoot adds value.
Flashpoint goes for six minutes, 21 seconds. It involves Andy Muschietti, Barbara Muschietti, Desjardin, Braham, writers Mark Waid and Sterling Gates, screenwriter Christina Hodson, and DC president/publisher/chief creative officer Jim Lee.
In this show, we learn about DC’s use of the “multiverse” and how it works in this film. It provides a decent overview.
Next comes Let’s Get Nuts, an eight-minute, 31-second piece. Here we find notes from Andy Muschietti, Barbara Muschietti, Austerberry, Desjardin, Hodson, Grace, Bohanna, Wade, Braham, and supervising art director Jason Know-Johnston.
“Nuts” discusses the return of Michael Keaton as Batman. A few useful details emerge, but a lot of “Nuts” just praises the actor, and his absence as an interview subject leaves a void.
The Bat Chase spans six minutes, 50 seconds. It comes with info from Andy Muschietti, Tuohy, Austerberry, Huthart, Knox-Johnston, Barbara Muschietti, Alonzo, Ferrari, and Murray.
As expected, “Chase” looks at elements involved in that particular scene. Though short, it gives us a solid take on the topic.
After this, Saving Supergirl occupies six minutes, 49 seconds. During this one, we hear from Andy Muschietti, Barbara Muschietti, Austerberry, Calle, Knox-Johnston, Barrett, Huthart, Braham, and set decorator Dominic Capon.
“Saving” follows the same path as “Chase” and details elements of a particular part of the movie. It turns into another worthwhile reel.
Battling Zod lasts five minutes, 36 seconds. It comes with comments from Andy Muschietti, Jenkins, Huthart, Braham, Alonzo, Shannon, Calle, and Tuohy.
“Zod” covers aspects of the movie’s climactic action sequence. Expect a quality program in the same vein as the last two.
With Fighting Dark Flash, we get a seven-minute, 14-second reel. The featurette delivers material from Andy Muschietti, Bohanna, Grace, Down, Desjardin, Barbara Muschietti, Jenkins, Miller, Wade, and script supervisor Lizzie Pritchard.
Another featurette focused on a specific area of the film, we cover the “Dark Flash” part of the movie. It brings more worthwhile information.
The Saga of the Scarlet Speedster fills 38 minutes, 26 seconds. It provides statements from Lee, Andy Muschietti, Miller, Hodson, Barbara Muschietti, DC writers/producers Jeph Loeb, Bruce Timm and Geoff Johns, TV writers Sterling Gates and Joshua Williamson, TV actors John Wesley Shipp, Michael Rosenbaum and Grant Gustin, DC writers Grant Morrison, Jeremy Adams, Marv Wolfman and Jim Krieg, DC writer/artist Francis Manapul, historian Mark Waid, former DC Comics president/publisher Paul Levitz, former Flash comics editor Julius Schwartz, DC artist Carmine Infantino, TV series creator Greg Berlanti, and filmmaker Zack Snyder.
“Saga” examines the character’s history in the comics and other media over the years. We get a fine overview of these domains.
In the same vein, The Last Daughter of Krypton spans 16 minutes. With it, we hear from Gates, Calle, Lee, Waid, Levitz, Loeb, Johns, Wolfman, Timm, Andy Muschietti, Hodson, and actors Melissa Benoist, Helen Slater, Nicholle Tom, and Laura Vandervoort.
“Daughter” follows the same path as “Saga” and gives us a history of Supergirl in comics and other media. It lacks the same level of detail and rushes too much, but it still comes with some quality material.
10 Deleted Scenes take up a total of 14 minutes, 13 seconds. Most of these offer longer versions of existing sequences.
Nothing crucial appears. That said, the segments offer some interesting moments, even if I can’t claim any of the additions needed to make the final film.
Called Escape the Midnight Circus, we get a “scripted podcast story”. This essentially means Circus acts like a radio play.
Circus lasts one hour, 33 minutes, 43 seconds and tells a tale in which Barry tries to go back in time but ends up in another world where he lacks his powers and finds himself in a “fight to the death” reality show. Aspects of Circus seem derivative but it finds a lot of fun and cleverness along the way, so it becomes a very enjoyable program.
In addition to a trailer for Circus, we conclude with The Flash in Session, a one-minute, 58-second featurette. It involves writer/director Henry Loevner and actor Max Greenfield. They offer some basics about the podcast, but the reel seems too short to give us much.
Given its lackluster box office reception, history seems unlikely to remember The Flash kindly. That feels too bad, as the movie offers a pretty lively and vivid superhero adventure. The 4K UHD boasts excellent picture and audio along with a mix of bonus materials. This turns into a solid comic book flick.