Tremors: A Cold Day In Hell appears in an aspect ratio of approximately 1.78:1 on this Blu-ray Disc. This became a largely appealing presentation.
Overall sharpness worked fine, with only a little softness seen in some wider shots. The majority of the film delivered accurate, distinctive imagery, though.
The movie lacked jagged edges or moiré effects, and edge haloes remained absent. As expected, no print flaws cropped up along the way.
A semi-inevitability, Cold Day went for a palette that focused on orange and teal, with an emphasis on the blue side of the spectrum to match the frozen setting. Though these choices seemed tiresome, the Blu-ray replicated them appropriately.
Blacks appeared dark and deep, while shadows seemed smooth and clear. This became a more than satisfactory visual presentation.
As for the movie’s DTS-HD MA 5.1 soundtrack, it offered an active affair – probably a little too active, to be honest, as the soundscape felt a bit unbalanced. The surrounds played a strong part in the proceedings to the degree where they occasionally threatened to overwhelm the whole package.
This meant the back speakers offered information that threw the mix a little out of whack and didn’t seem as natural as I’d like. Still, the mix wasn’t badly off-kilter, and it provided enough action involvement to be generally positive.
Audio quality worked fine, with dialogue that seemed natural and concise. Music appeared full and rich as well.
The most dominant aspect of the mix, effects fared nicely, with elements that seemed vivid and dynamic. Low-end response added real kick to the proceedings as well. The mildly unbalanced soundfield caused me to deduct some points, but the track still offered a largely satisfying sonic experience.
A few featurettes fill out the disc, and these launch with The Making of Tremors: A Cold Day in Hell. A six-chapter program, it fills 14 minutes, six seconds with comments from director Don Michael Paul, costume designer Danielle Knox, producer Mike Elliott, special effects supervisor Paul Pieterse, and actors Michael Gross, Jamie Kennedy, Tonya Van Graan, and Jamie-Lee Money.
“Making” examines story/characters, costumes, Paul’s impact on the production, sets and locations, action and effects. A few minor insights emerge, but these clips tend to feel awfully thin and promotional.
Anatomy of a Scene lasts four minutes, one second and features Paul, Elliott, Pieterse, 2nd unit director/stunt coordinator Grant Hulley, visual effects on-set supervisor Paul Kalil, and actor Jenna Upton. “Anatomy” looks at one specific attack sequence from early in the film. It delivers some decent shots from the set but like “Making”, it lacks depth.
Finally, Inside Chang’s Market takes up two minutes, 47 seconds and delivers comments from Paul and production designer Andrew Orlando. They take us through the set and show some “Easter eggs”. It becomes another mildly interesting piece.
The disc opens with ads for Death Race: Beyond Anarchy, and Dead Again in Tombstone. No trailer for Cold Day appears here.
A second disc provides a DVD copy of Cold Day. It includes the same extras as the Blu-ray.
As the sixth film in the franchise, Tremors: A Cold Day in Hell offers a story that branches out in potentially intriguing ways. Unfortunately, its execution fails miserably, as the movie suffers from a myriad of flaws. The Blu-ray brings very good picture and audio along with a few minor bonus features. Even major Tremors fans should avoid this awful movie.