Skip to main content

REVIEW: Scream


    Stop me if you've heard this before about slasher films, in or out of the Scream franchise: 

    "Don't overthink it. It's just a scary movie."
 
   
What an insulting thought for anyone who's ever found themselves in the throes of a gripping horror film. Good slasher films, like the original Scream, look honestly at the thing that scares us most and gives it a face. They know that the point of the slasher isn't in the chasing or the stabbing, but the unmasking. The overcoming of the thing that scares you. Good slasher films "overthink" it.

    I'm grateful to report that the directors of the newest Scream film, Matt Bettinelli-Olpin and Tyler Gillett, not only understand this principle, they embrace it wholly. In doing so, they may have created a sequel that not only meets but surpasses the film it tries to emulate.


    Twenty-five years after Sidney Prescott's first encounter with Ghostface, we meet Sam Carpenter, a native of Woodsboro who returns home after a terrible family secret is unearthed and her connection to the original Ghostface murders comes back to haunt her. Defeating this new iteration of Ghostface will mean confronting the past, both the demons of her own history and the heroes who've bested Ghostface before. 

  When I say this film "overthinks it," I'm mostly referring to characterization. It's a tender mercy, and a mark of how deeply this writing team loves the franchise, that this is arguably the most character-centric film of the series. This is true of both the old guard and the new kids in town. While our legacy cast mostly serves as a consulting board, only entering the fray when absolutely necessary, there is something moving about seeing a survivor like Sidney graduate into the protector of the new generation.

    There are some traps inherent in both horror as a genre and a franchise that turns life-or-death into a game. The opening scene, for example, has Ghostface terrorizing his first victim with trivia about the film Scream film, little throwbacks that generational audiences are sure to relish even as this child's life is on the line. This girl's about to be stabbed multiple times, is now really the best time to cash in on the nostalgia? But when your franchise is dependent on that ...

   
At the same time, this new installment is more mindful of the necessity of empathy than we've seen in some of the franchise's more stale offerings. The movie graciously tames some of the teenage snark that clotted earlier installments. Not even as much as this reviewer might have preferred, but this film makes it easier to like this batch of characters, and feel genuine distress when they inevitably meet the blade of Ghostface, than we've seen from many previous iterations. 

    I won't be so dismissive as to say that this is the first legacy sequel to emerge unscathed, there have been some good ones, but if any future attempts at "requelling" find any success, they inevitably have this film to thank for setting a pattern. What could have been "just a scary movie" or "just another reboot" instead becomes a tribute to fandom itself. 

    Thanks for playing. 

        --The Professor




Comments

Popular posts from this blog

Elemental: Savoring Pixar's Fading Light

I’ve only been doing this writing thing for a short while. But in that space, I have been surprised at many of the developments I’ve gotten to witness unfolding in the popular film landscape. It was only five years ago, for example, that superhero movies were still thought to be unstoppable. Here in 2025, though, we know better. But the wheels coming off the Marvel machine accompanied a shift in their whole method of production and distribution, and it didn’t take long for the natural consequences to catch up with them as verifiable issues started appearing in their films. Thor: Love and Thunder (2022) No. The development that has most surprised me has been critics and their slow-motion break-up with Pixar. The only way I know how to describe what I’ve seen over the last five years … imagine that your roommate has been stuck for a long time dating a girl who was obviously bad for him, and after he finally breaks up with her he gets back into the dating ring. All the girls he takes out ...

PROFESSOR'S PICKS: Five Lessons Hollywood Ought to Learn from the Success of WICKED

    That which has teased studios since the freak success of La La Land and The Greatest Showman has finally come to pass: Hollywood has finally launched a successful musical. Or rather, they've launched two.     The musical is sort of like the golden idol at the start of Raiders of the Lost Ark . It's valuable beyond imagination--but only if you know just how to retrieve it. There have been specific periods where the musical has yielded tremendous rewards for Hollywood, but for the greater part of the lifespan of feature-filmmaking, studios have been punished for reaching beyond their means.     Yet after ages of dormancy, t he years leading up to the Wicked movies were lined with musicals, more than we'd seen in the previous decade. A few of them were quite well crafted. Others were ... learning experiences. None really became what we'd call "mainstream."      But Wicked and Wicked: For Good have both seen rare success. I'm publishing ...

REVIEW: AVATAR - Fire and Ash

     The "Avatar" chapters have generally renewed their interest to the masses based on which exciting new locale and each new culture whichever film opts to explore.      Following that dance,  "Fire and Ash" introduces yet another Na'Vi clan, this one hailing from the scorched plains under the shadow of an erupted volcano. But their biome is decidedly less spectacular than the lush jungles of the Omaticaya or the rich coral reefs where the Metkayina dive. Between the ashen grounds of the volcano clan and the metallic fortress of the humans, this is comfortably the most monochromatic of the three Avatar films. And yet, Avatar: Fire and Ash is no less gripping for it.      And this is where the internet really starts to reckon with what us fans of the franchise have always kind of known: that the many screensavers offered by the Avatar world ... they have been  nice . But these films would have never made the impact they have if the...

The Great Movie Conquest of 2022 - Febuary

    Welcome back, one and all, to my latest attempt to justify being enslaved to a million different streaming services. My efforts to watch one new movie a day all year haven't worn me out yet, but we're not even past the first quarter yet.           My first film of the month brought me to Baz Lurhmann's Australia , and it reminded me what a beautifully mysterious animal the feature film is. My writer's brain identified a small handful of technical issues with the film's plotting, but the emotional current of the film took me to a place that was epic, even spiritual. I don't know. When a film cuts straight to the core of your psyche, do setup and payoff even matter anymore? I think this film is fated for repeated viewings over the years as I untangle my response to this film.     One of my favorite films of all time is Billy Wilder's The Apartment with Jack Lemmon and Shirley MacLaine.  You'd think, then, that learning that the t...

Year in Review: 2025

     So, I guess I’ll start out by saying that … I wasn’t kidding last year when I said I was gonna do better with reviews, folks. This is the first time in three years that my review count landed in the double digits, and I reached that benchmark barely past the year’s halfway point. My total this year landed at 19. This breaks my previous record of 17 from 2021 and also outpaces the total haul from 2024 and 2023 combined.       Once again, " WICKED " pulled through as the biggest contributor this year, and I wouldn't have had that any other way. These last two years of active anticipation have been some of the most gratifying I've ever had as a person who feels investment in moving pictures. I'm even more excited, though, for this duology to be folded into film history: that thing I really love writing about.   I will always regret not reviewing The Holdovers (2023)      In the past, I have let myself get away with checki...

Children of a Lesser God: Between Sound and Silence

    So ... you all remember how I was really annoyed by The Power of the Dog ?      I am more than perfectly fine that the award went to the much better CODA . I thought it was much more enjoyable as a piece of film, and unlike The Power of the Dog , it did showed honest interest in the community it was reporting to champion. In the case of CODA , that was, of course, the deaf community.      But it's actually not CODA I want to talk about in detail at this time. That movie's milestones exist along a timeline that extends ... further back than I can track today, but at least as far back as  March 30, 1987, when Marlee Matlin became the first deaf actor to receive an Academy Award for her performance in Children of a Lesser God . Randa Haines’ 1986 film centers on the romance between a hearing man and a deaf woman and the challenges they face. This was a major shift in how the deaf community was represented onscreen. Paul Attanasio wrote in ...

The Notebook Has No Excuses

     The thing about film is … the more you think about it, the less sense it makes. Film tells us, even in a society obsessed with wealth and gain, “Remember, George, no man is a failure who has friends.” Film warns us that the most unnatural evil lies in wait at the Overlook Hotel and peeks out when all the guests leave for the winter–and that the heart of it resides in room 237–knowing we'll trip over ourselves wanting to open that door. Film is what makes us believe that the vessel for the deepest human emotion could be contained in a cartoon clownfish taking his unhatched cartoon son and holding him in his cartoon fin and telling him he will never let anything happen to him.  Nights of Cabiria (1957) Even when it tries to plant its feet aggressively in realism, film winds up being an inherently emotional realm. We feel safer to view and express all manners of passions or desires here in the space where the rules of propriety just don’t matter anymore. So a fa...

An Earnest Defense of Passengers

          Recall with me, if you will, the scene in Hollywood December 2016. We were less than a year away from #MeToo, and the internet was keenly aware of Hollywood’s suffocating influence on women on and off screen but not yet sure what to do about it.       Enter Morten Tyldum’s film Passengers , a movie which, despite featuring the two hottest stars in Hollywood at the apex of their fame, was mangled by internet critics immediately after take-off. A key piece of Passengers ’ plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who prematurely awakens from a century-long hibernation and faces a lifetime of solitude adrift in outer space; rather than suffer through a life of loneliness, he eventually decides to deliberately awaken another passenger, Aurora Lane, condemning her to his same fate.    So this is obviously a film with a moral dilemma at its center. Morten Tyldum, director of...

Saying Goodbye to Stranger Things

     There's a quote from critic Mark Caro that I think about a lot. I shared it back when I did my critical survey of Pixar movies . Writing about Finding Nemo , Caro wrote in the  Chicago Tribune in 2003 , "Classic film eras tend to get recognized in retrospect while we take for granted timeless works passing before our eyes. So let's pause to appreciate what's been going on at Pixar Animation Studios."      I think that captures the aspirations of all active-minded media consumers. Or at least, it ought to. "This good thing won't last forever, so savor it while it before the sun goes down."  Modern Times (1936)      But this is also a very hard mindset to access in an online culture that is always seeking to stamp labels and scores on a thing before we shove it on the conveyor belt and move on to the next parcel.       It's something I have been thinking about for the last year or so as the completion of the ...

Do You Hear the People Sing?: "Les Miserables" and the Untrained Singer

          Perhaps no film genre is as neglected in the 21 st century as the musical. With rare exception, the o nly offerings we get are the occasional Disney film, the occasional remake of a Disney film, and adaptations of Broadway stage shows. When we are graced with a proper musical film, the demand is high among musical fans for optimum musical performance, and when a musical film doesn’t deliver this, these fans are unforgiving.  From the moment talking was introduced in cinema, the musical film has been a gathering place where vocal demigods assemble in kaleidoscopic dance numbers in a whirl of cinematic ecstasy too fantastical for this world. What motivation, then, could Tom Hooper possibly have for tethering this landmark of modern musical fandom in grounded, dirty reality?       This movie’s claim to fame is the use of completely live-singing, detailed in this featurette, something no previous movie musical had attempted to...