Having established the rules within this world of the supposedly oldest jack in the box, containing the demon trapped inside, only to be released to gather six souls in order to replenish him.
Much like its predecessor this film doesn’t try to hide the fact that it is a low budget feature, relying on the strength of performance and the storyline itself. Both films are told in a secluded setting but this time around the narrative feels richer and more entrenched in the mythology surrounding it.
The prison-like setting takes place in a mansion with only an aisling mother, Olga Marsdale (Nicola Wright), her son Edgar (Matt McClure), the cook Frank (Jason Farries), and the maid, Janet (Michaela Longden). Joining them is Amy Proctor (Mollie Hindle) and providing our entry point into the estate as hired help.
We learn early on who our antagonists are when Olga acquires the mysterious jack-in-the-box to aid her in her recovery. The ever-dutiful Edgar tuning into a Norman Bates-esque style performance…”Mother!”. McClure does a fine job here, showing a range of emotions from anxious and reserved, to unhinged anger and mania. It’s his portrayal that is the hook in this movie and keeps you wanting to know which way he will fall.
The Prognosis:
While the movie does walk the line of predictability and suffers under the restraints of the budget where it could do with a serving on the gore front to make Jack more threatening. This can be forgiven due to Director Lawrence Fowler’s vision and attention to keeping the entertainment on the lust for power and the elixir of life.
Saul Muerte
The Jack in the Box: Awakening is out now on DVD and VOD (Fetch TV, Telstra TV, Google Play, YouTube Store and iTunes) from Eagle Entertainment Australia.
The problem with the Texas Chainsaw Massacre franchise is… Leatherface.
What? I hear you bellow and cry? Texas Chainsaw Massacre is Leatherface and that is precisely my point. Having Leatherface as the poster icon for these slasher, body torture flicks has dampened the menace that the original 1974 Tobe Hooper feature had. The torment doesn’t lie with just his heightened and physical presence but with his entire f@#$ed up family.
Family or some sense of family has been key amongst this franchise and to unsettle this dynamic leads to ruin for any who encounter it. This is evident in Hooper’s sequel, albeit through a dark comedy gaze. It’s following sequels tried to replicate this energy but somehow missed the mark and since then the franchise has had more jump starts than a shitbox car with a malfunctioning alternator.
Leatherface is iconic for a reason but without his family support network around (as dysfunctional as they all are) he will either do one of two things, become a hermit, isolated in his own filth and depravation, or become a loose cannon, destroying everything in his path. This latest feature aims for the latter and for good reason as it has become such a winning formula for David Gordon Green’s Halloween franchise revival.
There was some promise in this latest release with Directing Auteur Fede Alvarez behind the resurrection, serving as producer, and teaming up with the original writers Pat Cassidy, Ian and Kim Henkel only added to the integrity.
Legendary Pictures who had secured the rights to the franchise were putting their trust in relative newcomer David Blue Garcia with his sophomore outing in the directors chair for a feature length movie.
The focus for the film would have Leatherface holed up in a house for troubled youths, only now the only occupant along with a mother-like figure who ran what was the facility, played by the fantastic Alice Krige. The rest of the place has become a ghost town filled with dilapidated buildings and the vision of a group of influencers hoping to transform this Texas town into a bustling business venture. Cue potential victims for Leatherface to rip through as these gentrifiers get more than they bargained for.
The issue is that there’s a half-baked idea going on here, and it rests too highly on the success and brutality of Halloween (2018) to fuel Leatherface’s rage, thrusting him solely in the centre of the carnage. When the movie does go for barbarity, it often hits the right notes of repulsion but too often it falls foul of old horror tropes, having it’s leads either hiding in the closet and under the bed or trying to kick ass against the monster.
TCM even tries to replicate the harshness that trauma has on our heroines, that featured so heavily in Halloween by having one of the leads, Lila (Elsie Fisher) a survivor of a school killing massacre. This is brought in double fold by bringing back Sally Hardesty, this time played by Olwen Fouere, to tap into the whole hardened survivor ala Jamie Lee Curtis as Laurie Strode.
Another example however that the filmmakers are content in playing familiar notes and resting on the laurels that the Texas Chainsaw Massacre name and that of its emblematic figure Leatherface brings.
The prognosis:
This latest version is aimed at a new generation of audience.
Too often though, it falls prey to the usual horror tropes and offers nothing new.
Leatherface does go full on with the kill count though going Michael Myers with some brutal deaths, especially with the bus scene which was highly satisfying.
It also had some moments of humour that didn’t necessarily hit the mark.
For veteran horror fans hoping to see some descent bloodshed will feel satiated, but ultimately let down by the lack in depth to the fold as the film struggles to add any flesh to it’s now frail bones.
The rust has truly taken hold in this franchise and it might be too hard to get that chainsaw whirring to satisfaction again without some bold new approach.
As I attempt to play fast catch up with my reviews, I centre my attention on the latest bout of streaming films that have been available on Shudder this year, starting with For The Sake of Vicious.
If I could sum up this movie in one word it would be, ‘relentless’
This home invasion movie takes things to the next level when a nurse, Romina (Lora Burke) returns home from a grueling day of work only to find that her night of torment has only just begun when she discovers a bruised and beaten man, Alan (Colin Paradine) tied to a chair in her kitchen with another unhinged psychotic man, Chris (Nick Smyth) calling all the shots. What starts out as a battle of wits among the trio as Romina tries to work out what is actually going on and why, shifts through some gnarly gears when they become the subject of bedlam as intruders begin to infiltrate the domain, to kill them all.
These intruders come donned in clown masks, demon masks, and cycling helmets, to add to their mystery and fuel the tension as they rip apart the house, chucking every available item except the kitchen sink at each other. This battle for survival in a domestic style battle royale keeps pushing the envelope and is brutal in its delivery.
The Prognosis:
Each character draws upon their internal strengths through an amazing ordeal that is gripping and intense throughout the narrative. I didn’t expect to be so gripped by this film, but the Directing and Writing partnership of Gabriel Carrer and Reese Eveneshen tantalise our expectations of just exactly how far they can push the action and keep the insanity of it all grounded in reality.
Wes Craven: The Scream years part 5 – Cursed (2005)
What should have been a dream project for Wes Craven outside of his involvement in the Scream franchise, combining once again with his writing partner Kevin Williamson would end up being something of a nightmare by the time of its theatrical release.
Boosting its potential recipe for success was a high-hitting young talent to draw in the crowds, with Christina Ricci and Jesse Eisenberg playing the siblings and our lead protagonists, ably supported by Joshua Jackson and Judy Greer.
Chief among the downfall of this werewolf flick was a case of the producers muddying the waters of creativity by insisting on making numerous changes to the script and the production, including ditching creature feature effects by the hands of the late great Rick Baker, and implanting computer generated imagery into the fold. I might be biased in this category, as I’m a huge fan of make-up prosthetics and man-made creature effects, but the CGI here is incredibly dated and looks woefully bad looking back 17 years after it had initially hit screens.
The dialogue is incredibly clunky now and it’s evident upon viewing that a lot of changes have been made to the script as it jars in several places, throwing the viewer out of the picture.
There were reshoots upon reshoots upon reshoots, as the powerhouse company kept demanding changes, proving to be one colossal headache for Craven. Supposedly these original cut versions still exist but whether they will see the light of day or be subjected to the darkness remains to be seen.
For now the version we got sees siblings Ellie (Ricci) and Jimmy (Eisenberg) at odds with one another, their relationship stifled growing up together under the cloud of their parents death. Their bond becomes stronger though when they are involved in a car accident when they are attacked by a creature. The creature we learn later is a lycanthrope, and Ellie and Jimmy go about their separate ways to uncover the truth behind the attack with a whodunnit style approach to their amatuer sleuthing before we reach the reveal and the climax of the movie.
Cursed suffers under the weight of mis-managed production but there is still life in the movie, not to be completely dismissed or left for dead. The film contains flickers of a pulse (ironic as the American remake of Pulse was initially going to be a Craven project, before he was pulled into making this movie instead) and there are moments where the Williamson humour is allowed to surface. It would have been so cool to have seen Craven’s initial vision, but unfortunately it would suffer a similar fate to A Vampire in Brooklyn, where the trust in Craven is quashed. Maybe he should have steered clear of the Gothic-style inspirations and kept carving out his own macabre musings, but when the wind forces you in one direction, you have no choice but to bow. A great shame.
It’s been 8 years since the Roache-Turner creative team took Australians and the world over on their Road of the Dead. This post-apocalyptic zombie, blood frenzy was a labour of love for brothers Kiah and Tristan, taking over three and a half years to produce through dedicated weekends to harness their vision. The passion is clear to see on-screen and is just as infectious as the shuffling dead that Wyrmwood is shaped on, shooting from the hip and punching you in the gut with its ferocious energy. Wyrmwood would produceadecent following through a heightened social media presence who latched on to the fun and mayhem that the Roache-Turner brothers produced.
Fast forward to present day and they’ve finally come to fruition with the much awaited sequel to satiate the followers needs, but the big question is, does it live up to the hype?
In many ways, the answer to that question is yes. swiftly followed by a but…
The biggest and boldest move that Roache-Turner makes in the decision process for Wyrmwood: Apocalypse is to deviate a little away from the predecessors’ protagonists. That’s not to say that Barry (Jay Gallagher) and Brooke (Bianca Bradey) don’t feature but this time around the narrative centers its main narrative on a different trio of zombie apocalyptic survivors.
This may upset or turn off some fans of the original but from this writer’s perspective, it only expands the world of Wyrmwood for the richer, especially with the narrative choice following the return of actor Luke McKenzie, this time playing Rhys, not the Captain from the original film. He is in fact playing the Captains’ twin brother. This speaks volumes about the method that Roache-Turner took in making movies; if it’s broken, don’t fix it. McKenzie is an amazing actor, and here they have the opportunity to bring him back into the fold again. Yes. With a different character. But it’s a brilliant choice, as Mackenzie does not falter in this movie. He’s an amazing performer and his role of Rhys, the troubled soldier searching for a cure to the virus, whilst also being infected himself, and on a path to vengeance for the death of his brother makes him an incredibly complicated character, and engaging to watch. Rhys works almost as a bounty hunter rounding up survivors, and then bringing them to the scientists in the hope that they will find this cure, little realising that there’s more going on behind the scenes than meets the eye. This is what he slowly uncovers, the truth behind the facade and tips the balance as to whether he will side with the scientists or the survivors. Will he align with greed and power, much like his brother did, in order to fulfil his needs, or will he see that there’s a bigger picture here?
Along the way he teams up with two young Aboriginal women, Maxi (Shantae Barnes-Cowan) and Grase (Tasia Zalar), with another brilliant piece of writing. It’s clear from the choices that Roache-Turner makes that he has his fingers firmly on the social pulse.
In an interview I had with Tristan a few years back, he mentioned that he had a deep love for indigenous culture. This is evident in the choices the filmmakers are making in casting these two women. They are not only powerhouses on the screen, with strength resistance, and smarts. They’re deadly moves are what made them ultimate survivors. Aboriginal culture is one of the oldest living cultures today and it shows how they are able to adapt and survive in the most brawling of circumstances, often in the face of white power. It is this white power that they are rising up against here as we follow these three characters falling in and out of alliances along their journey to meet their means. Throughout the narrative we are often faced with a case of not knowing what direction or what the resolution will be at the end of the film, which is again a great way to keep the audience engaged.
So back to Brooke and Barry.
We get a window or a snippet of their involvement in the story where things left off at the very beginning of the movie, albeit briefly, their resurrection into the film doesn’t necessarily come about until a good chunk of the way through which may have some fans a little miffed. I personally welcome it. I think the time and dedication that he’s put into building up the characters of Rhys, Maxi and Grace is worth it for us to become engaged in their storyline and when Brooke and Barry do surface again, we know they’re going to bring the goods. We know that they are going to be coming out packed to the max with a zombie army at their beck and call to take on the scientists and the structure of power that is wielding before them.
The prognosis:
There’s fun quips and it’s full of arsenal attacks that is just a joy to watch. Roache-Turner is incredibly adept at weaving that fine line of humour, mayhem, carnage, blood and guts to satisfy its audience and they don’t fail here. It’s a cracking watch and I should probably also say a big nod to Nicholas Boshier, who is an example of how to balance that fine line of comedy and dark energy on the screen in his portrayal of the scientist.
Wes Craven: The Scream years part 4 – Scream 3 (2000)
There would have been a three year hiatus for Ghostface to reappear again on screens following the successful sequel. This time around Wes Craven returning as director without his writing collaborator Kevin Williamson, (those duties now fell to relative newcomer Ehren Kruger who had previously worked on Arlington Road) would thrust Sidney Prescott further down the rabbithole and dreamland to create his slasher trilogy. And what better place to set their playground in, than the place where ‘dreams are made’, Hollywood. It’s a great choice and plays nicely into the metaverse that was initially set up in the original and its sequel with the Hollywood version of the Woodsboro murders film series, Stab.
Once again the film hits hard by writing off a previous character, Cotton Weary (Liev Schrieber) still capitalising on his fifteen minutes of fame and about to cameo in the next feature in the Stab series before succumbing to the return of Ghostface’s killing frenzy.
Here we are introduced to a new character in Detective Kincaid (Patrick Dempsey) who calls on Gail Weathers (Courtney Cox) to aid him in his query into the murder and its possible relation to the previous murders. When Gail arrives on set, she discovers that Dewey (David Arquette) has been working on the film as an advisor and once again their on/off relationship sparks off. It’s not until another Stab 3 cast member is killed that they realise that a possible serial copycat killer is in their midst. Time to call on Sidney Prescott once more, who has become a recluse since we last saw her and helping abused women via a phone helpline, turning the instrument that fuelled her trauma into something good.
The charm of this movie is through the way Craven and Kruger play with the hollywood versions of the Scream characters and the way that their larger than life selves search for their own gain in the midst of the killings. It is inevitable that they will meet their maker at some point along the way. The casting of these characters is also on point, notably Parker Posey as the fictional Gail and Emily Mortimer as the fictional Sidney. A mention should also go to Lance Henriksen as the Director of the movie John Milton, who is always stoic in his performance.
Along with this was the return from the grave of fan favourite Randy Meeks, albeit by the genius of a home movie, from which he spits the lores of film trilogies to the survivors. Sorry to wax lyrical about Randy. What can I say? I guess for some reason, I identify with the guy 😛
Once more though, it is in the final act and the reveal that things get a little lost on me with the reveal of a characters’ plan that they were behind the whole thing from the very beginning. A little far-fetched, yes, but the fun is in the journey, the number of kills, Dewey getting brutally wiped out and left for dead again, and both Sidney and Gail kicking ass along the way.
The third instalment may not have been as well received compared with its predecessors, falling victim to the last instalment curse, but it still reaped its fair share at the box office, hinting that Ghostface wasn’t down and out yet. In fact, it would be a decade before the masked killer would rise again, bringing with him the director that launched his profile for what would be the last time for Craven.
Wes Craven: The Scream years part 3 – Scream 2 (1997)
The original Scream released one year prior would prove to be a financial success, capturing $85 million at the Box Office, and prove to be a critical success for Wes Craven and Dimension Films so that it was inevitable that a follow up would be in the making.
Part of its lure in attaining Craven back into the director’s chair would be the offer of a three picture deal. Two of the pictures would be the proposed sequel and a possible third film of the Scream franchise (dependent on success, of course), but for Craven it would be the the movie sandwiched between the two slasher films, and a step away from the genre that was the dangling carrot. That film would turn out to be Music From The Heart, starring Meryl Streep.
Writer Kevin Williamson would also be enticed back into the fold for his penmanship with a lucrative seven figure deal, along with returning actors Neve Campbell, Courtney Cox, David Arquette, Jamie Kennedy, and Liev Schrieber in their respective roles. The former trio in this group would be given some decent chances to flesh out their characters with a strong continuous arc that would serve well throughout the entire franchise. Supposedly the actors would only find out who the killer/s would be in the final two weeks of filming when they were provided the last 20 pages of the script.
Despite being so closely guarded though, the production team would have to suffer under the wake of the internet when the first 40 pages of the script were leaked online, albeit just the first draft. This would tighten security on set, and raise both intrigue and the profile of the movie ahead of its release.
Part of the sequels’ appeal would be the meta-infused dialogue that was so prominent in its predecessor, none more so than the killer opening scene; set in a cinema screening and introduction to the film with a film moment called Stab, where we witness Heather Graham taking on the Drew Barrymore role from Scream. The audience are placed in the shoes of a Black American couple played by Omar Epps and Jada Pinkett. They are quick to point out the foils of ‘White Americans’ and their actions whilst being pursued by Ghostface, only to be subject to a horror trope of their own, where the non-white person rarely survives the movie, in this case they only last for the pre-credit sequence. Pinketts role is particularly harrowing as she is stabbed in front of a full auditorium, many of whom wear the infamous ghostface mask, hiding her killer in plain sight, and with it, the notion that…
Everybody’s a suspect.
Forever banked in my memory though was the demise of the person who quoted that line, Randy Meeks. He was the horror film guru, and some of the fans favourite character, so his death was received with mixed opinions. What it did set out though, was a recurring theme for the franchise. That no one was safe, and just because you might know the rules, doesn’t mean that it would save you from meeting your maker by the film’s conclusion.
The other cool component was in giving Liev Schriieber a beefed up part as the wrongfully accused Cotton Weary from the original movie. Schrieber is a phenomenal actor and he shines here as a character wishing for his own 15 minutes of fame, stopping at nothing and in doing so, throwing him once more into the limelight as a potential suspect. Let’s not forget Jerry O’Connell too who plays Sidney Prescott’s love interest and also falls prey to suspect territory thanks to Sidney’s last boyfriend/killer scenario, Billy. Trust will always be an issue for our heroine.
If there is a let down here, it’s in the climax and ultimate reveal that proves to be something of a Scooby Doo moment and a half-baked attempt at revenge. This could also be a ramification for the fast turn around in getting this from page to screen.
Despite this, Scream 2 would bank over $172 million at the box office, more than double than the first film, and with it open the doors further to at the time a third and final instalment in the trilogy.
Wes Craven: The Scream years part 2 – Scream (1996)
It’s hard to no where to begin with what is arguably the last significant changer for slasher films, such is the iconic status that Wes Craven’s Scream brought to the sub-genre. What is apparent is that the infamous director who had been the mastermind behind two previous horror franchises in The Hills Have Eyes and A Nightmare on Elm Street initially turned down the option to direct, having his eyes set on crafting a remake of The Haunting based on the Shirley Jackson novel. History would tell a different story with that movie falling into the hands of Jan De Bont, starring Liam Neeson and Lily Taylor. Craven would actually turn Scream down for a second time before being enticed into the directors’ chair. That light bulb moment to pull him in came through the notion of a dark and violent beginning that hadn’t been done before. It’s still to this day one of the most harrowing and surprising starts to a film, doubled up by that cameo from Drew Barrymore.
That reawakening of a stale genre combined with my own deep immersion into horror as it fell into my late teens. The meta dialogue provided by Dawson Creek’s Kevin Williamson hooking the generation of the time with a delicate balance of D&Ms (deep and meaningfuls) with the lead characters and genuine scares infused with a whodunnit mystery. It was this latter element that Craven liked to play with on screen and in truth, despite being labelled as a horror director, his dalliance with the thriller component was where he played best.
It was also imperative to work with bright and upcoming talent to serve as the teen victims, who are strong enough to ground the movie in the own right, leading the charge was Neve Campbell (as this generations’ scream queen through the role of Sidney Prescott), who would go on to great success following the movie. Equally though her supporting cast of Skeet Ulrich, Matthew Lillard, Rose McGowan, and Jamie Kennedy more than bring their A-game.
That’s not to mention the other leads in David Arquette as deputy Dewey and bringing some star appeal with the success of Friends was Courtney Cox as the cold-hearted journalist, Gail Weathers. Part of the strength is that no one is painted as they first appear, adding to the intrigue and mystery on show.
It helps that the masked villain uses a cool guise in Ghostface, repeated on numerous occasions and parodied in the comical Scary Movie franchise, the name for which is borrowed from Scream’s working title.
The success though would speak volumes through the box office with $85 million in takings, marking Dimension Films with their first real win, opening the door for a sequel already being discussed 3 months after the films release.
Watching it back now, 25 years after it came out on the big screen, still triggers the nostalgia vibes, a significant indicator that it has resonance with its audience and with the recent Scream sequel hitting screens at the time of writing, will no doubt resurrect a whole new audience into the fold.
If you’re as hyped for Scream (2022) as I am and you’ve rewatched Scream 1 – 4, here’s 10 more Scream inspired movies to keep the anticipation and celebration going:
1. FREAKY (2020)
This one got lost in the pandemic a bit. A great horror comedy mash-up (“Freaky Friday” meets “Friday the 13th” – originally titled “Freaky Friday the 13th”), like Scream this movie puts characters first and features one of Vince Vaughn’s funniest (and sweet) performances in a while (if not ever?). The writer has another mash-up horror comedy coming this year, “Time Cut” which is a cross between “Scream” and “Back To The Future.”
A slasher killer is on the loose at a summer camp, and a camp counselorz is trying to survive. Luckily, he has his horror fan friend on the phone to give him tips on how to make it through. The friend is played by Alyson Hannigan. It doesn’t get more late-90s meta horror inspired than that!
3. I KNOW WHAT YOU DID LAST SUMMER (1997)
Obvious? Yes. Also, a fantastic slasher written by Kevin Williamson who wrote Scream. This is more of a straightforward 80s inspired slasher than Scream with possibly the most 90s cast ever and one of the best cat-and-mouse stalk sequences in slasher history featuring Sarah Michelle Gellar.
4. I STILL KNOW WHAT YOU DID LAST SUMMER (1998)
When it comes to slashers, “ya gotta have a sequel!” Not as good as the original but in true 80s slasher style, far more bonkers and fun! Our survivors are off to a tropical island featuring Jack Black as a stoner employee, a cameo from Jeffrey Combs and the killer in pursuit. Extra batshit points for the Killer’s iconic “I Know” message appearing in the lyrics on a karaoke machine, the killer “reveal” being all in the name, and a 90s pop song by Jennifer Love Hewitt in her own film.
5. THE FINAL GIRLS (2015)
A meta movie about a young woman who is grieving the loss of her mum (hello Sidney) but gets to reconnect with her when she gets sucked into a 1980s slasher movie with a group of her friends, one of which is a horror fan. The mum was a 1980s Scream Queen! Sounds silly and it is (the movie knows it!) but there is also plenty of heart here, and while it is not big on the gore, there is a little blood shed (along with some well-earned tears!).
6. URBAN LEGEND (1998)
Riding on Scream’s success comes this slasher about a killer who uses urban legends to dispatch their victims. You know the one about a dog in the microwave, or the person who wakes up in a bath full of ice with their liver missing? Cameos from Robert England, and Brad Dourif along with Joshua Jackson’s character acting unimpressed by the Dawson’s Creek theme song add to the 90s fun. It’s the Killer’s final reveal and monologue (complete with PowerPoint presentation) that rivals the crazy killer monologue performances from Scream 2 and 4 that really makes this a slasher stand out!
7. URBAN LEGENDS: FINAL CUT (2000)
Another sequel that brings more slashing and silliness. Released the same year as Scream 3 (which takes the killings from Woodsboro and Windsor College to Hollywood), this Scream sequel knockoff isn’t hiding the “inspirations” with a story set at a film school where the main character is making a movie about urban legends.
8. HAPPY DEATH DAY (2017)
A horror comedy that, like Scream, puts a new spin on the genre. This time a slasher gets the “Groundhog Day” treatment when a college student is forced to live her death over and over again until she can uncover the killer’s identity. The movie is more comedy than horror but features an incredible final girl performance by Jessica Rothe whose arc that goes from harsh bitch to heartfelt hasn’t been this good since Gale Weathers.
9. CHERRY FALLS (2000)
This one came out at the end of Scream knock-off era and might be an acquired taste (that being “What the hell am I eating/watching?”). From the director of Romper Stomper comes a slasher where the killer is targeting virgins. The only way to survive is have sex! The studio became nervous (because of the content and ailing box office for slashers at the time) and the film was heavily cut and dumped. It’s a shame because this entertaining oddball oddity with excellent performances from Brittney Murphy and Michael Biehn is well worth seeking out for hardcore fans of the genre.
10. READY OR NOT (2019)
Not a slasher but a comedy horror (maybe more comedy thriller?) directed by Matt Bettinelli-Olpin and Tyler Gillett who have the mammoth task of taking over directing duties from the great Wes Craven on Scream (2022). Another brilliant final girl performance from Samara Weaving, a common theme on this list and the key ingredient to the success of the Scream films – all hail the queen that is Neve! Ready or Not demonstrates these directors have exceptional skill at balancing scares, laughs, tension and drama and is all the proof you’ll need that the beloved Scream franchise is in very good hands.
Back to Woodsboro we go. As a horror fan (the original Scream along with A Nightmare on Elm Street are solely responsible – thanks Wes), this franchise has always been high on my list (is it the most consistent horror franchise?). I love Scream 3 and 4 just as much as 1 and 2 for different reasons! With Scream (2022), Wes Craven is sadly gone (still hurts) but so are the Weinsteins (still feels good) who as producers notoriously messed with production and the original vision of the first 4 Scream movies. Matt Bettinelli-Olpin & Tyler Gillett have directing duties now, Kevin Williamson is a producer but not the writer and the trailer pitched a legacy style sequel that dropped the number 5 and lacked the meta humour and wit found in the original series. Of course, I was excited, and I wanted to be hopeful BUT… Like Ghostface leaping from nowhere, let’s cut to the chase. Fans of the series have nothing to fear. Scream (2022) is not only lovingly true to the series but knows when to break those all-important rules to deliver something that also feels fresh. Make this the last review you read to avoid spoilers. The marketing team have done their best to avoid giving away too much including how meta and witty the movie is, reflecting on the current state of horror, the Scream franchise, movie fandom, and legacy sequels (that number 5 was dropped for a reason and the movie is aware!).
The new cast are great (especially Jenna Ortega – The Babysitter: Killer Queen and Jasmin Savoy Brown – Yellowjackets) and the legacy cast get to do some of the best work they have done in the franchise. Bettinelli-Olpin & Gillett have discussed wanting to honour Wes Craven with this film. The best way to do so that was to create a funny, scary slasher film that subverts expectations.
The Prognosis: Consider the Master honoured. Scream (2022) does just this with the directors maintaining their own style and voice. The fans (dressed as legacy characters) at the advanced screening I attended, applauded at the end. I joined them.
Surgeons of Horror 