Scream VI appears in an aspect ratio of approximately 2.35:1 on this Blu-ray Disc. The movie offered a quality presentation.
Sharpness worked well. Only minor softness ever marred the image, so the movie boasted accurate delineation most of the time.
No signs of jagged edges or moiré effects materialized, and I witnessed no instances of edge haloes. Print flaws also failed to mar the proceedings.
To the surprise of no one, Scream VI mainly went with amber/orange and teal, though we got some purple and a few other hues at times as well. The image reproduced the colors as intended.
Blacks seemed dense and deep, while shadows offered appropriate smoothness and clarity. The Blu-ray displayed the film well.
Downconverted to Dolby TrueHD 7.1, the film’s Dolby Atmos soundtrack added oomph to the proceedings, as the soundscape opened up matters in a positive manner. Music offered nice breadth and filled the channels in a consistent manner.
With a mix of lively scenes, the soundfield offered a few chances for fireworks, and it used them well. Various “action beats” appeared in addition to basic scares and created an involving impression.
Audio quality appeared good, with speech that came across as natural and distinctive. Effects also seemed accurate and tight, with clear reproduction of these components.
Music worked well, as the songs/score boasted solid range and dimensionality. This became a more than satisfactory track for the film.
As we shift to extras, we launch with an audio commentary from directors Matt Bettinelli-Olpin and Tyler Gillett, writer/producer James Vanderbilt, writer Guy Busick, and executive producer Chad Villella. All five sit together for this running, screen-specific look at sequel domains and story/characters, cast and performances, music and editing, sets and locations, stunts and action, various effects, and costumes.
This same crew provided a very good commentary for the 2022 movie, and they continue that trend here. The participants cover a nice array of topics and do so in a brisk and involving manner to make this another solid track.
Seven featurettes follow, and Death Comes to the City runs seven minutes, 56 seconds. It involves Gillett, Busick, Vanderbilt, Bettinelli-Olpin, Villella, producers William Sherak and Paul Neinstein, executive producer Ron Lynch, director of photography Brett Jutkiewicz, and actors Dermot Mulroney, Melissa Barrera, Courteney Cox, Jenna Ortega, Mason Gooding, Jack Champion and Hayden Panettiere.
“City” examines story/characters, the NYC setting and photography. The program mixes useful notes with happy talk.
The Faces of Death goes for 14 minutes, 10 seconds. It offers notes from Vanderbilt, Bettinelli-Olpin, Villella, Gillett, Barrera, Busick, Ortega, Neinstein, Gooding, Mulroney, Champion, Panettiere, Cox and actors Jasmin Savoy Brown, Josh Segarra, Devyn Nekoda and Liana Liberato.
Here we learn about the main characters, cast and performances. It gives us another combination of decent insights and praise.
With More Meta Than Meta, we find a 10-minute, 22-second program. It brings remarks from Vanderbilt, Busick, Cox, Mulroney, Bettinelli-Olpin, Gillett, Villella, Panettiere, Nekoda, Ortega, Brown, Champion, Barrera, costume designer Avery Plewes and production designer Michele Laliberte.
This piece views the self-referential nature of the franchise as well as Scream VI Easter eggs. It proves fairly informative despite more fluff at times.
Bloodbath at a Bodega fills four minutes, 53 seconds with info from Bettinelli-Olpin, Gillett, Villella, Vanderbilt, Busick, Ortega, Sherak, Barrera, and stunt coordinator Alex Cadieux.
We hear about stunts/action, with an emphasis on the bodega scene. “Bloodbath” delivers a decent overview.
After this we locate An Apartment to Die For, a seven-minute, 30-second piece. It features Lynch, Cadieux, Bettinelli-Olpin, Gillett, Villella, Nekoya, Barerra, Ortega, and Laliberte.
“Die” follows the pattern of “Bloodbath”, as it focuses on stunts/action related to a specific scene. It becomes another somewhat fluffy but generally informative reel.
The Night Train to Terror occupies six minutes, 18 seconds. It gives us statements from Nekoda, Busick, Vanderbilt, Champion, Lynch, Laliberte, Jutkiewicz, Gillett, Segarra, Ortega, Plewes, Villella and Bettinelli-Olpin.
Expect “Train” to continue the style of the last two featurettes, as it digs into the creation of the subway scenes. It also seems good but occasionally too superficial.
Finally, Theater of Blood takes up 10 minutes, 52 seconds. Here we hear from Panettiere, Cox, Busick, Vanderbilt, Lynch, Bettinelli-Olpin, Ortega, Brown, Laliberte, Barrera, Plewes, Gillett, Champion, Jutkiewicz, Liberato, Gooding and Mulroney.
Another scene-specific program, “Blood” covers the movie’s climax. We find another mix of useful material and happy talk.
While not a great horror flick, Scream VI likely qualifies as the best since the second in the series. Its new setting adds spark and allows for clever twists. The Blu-ray offers solid picture and audio along with a set of supplements highlighted by a strong commentary. This turns into a pretty entertaining genre effort