New friends, new city, same problems. Scream VI, the latest instalment of the franchise, further pushes the boundaries.
★★★★✰
It’s been nearly 30 years since the original Scream film dropped, and the series is still going strong. This is the second release since the passing of long-time director of the franchise Wes Craven, and a modern spin in his absence can certainly be felt in these later episodes. With films like M3gan and Cocaine Bear running out major ad campaigns, Scream’s reputation alone precedes all of this.
This film has been distributed with the unique selling point of a change of location. The Carpenter sisters and company move on from the now iconic town of Woodsboro to New York City in the hope of leaving their ghosts behind. Tara (Jenna Ortega) is trying to focus on her studies but the same can’t be said for her sister Sam (Melissa Barrera), who is overwhelmed by panic.
As is always the case, they don’t know which of their friends can be trusted and which can’t, with seeds of doubt being sown between all of them. From their very own apartment to the New York subway, Ghostface is in close pursuit. The sisters are more than ready for a fight, at times defying logic with their survival skills (like walking off a stab wound).
There isn’t anywhere better to start praising Scream VI than with the cast themselves. Jenna Ortega is at the fore of the star performers, oozing emotion and really making the audience invested. Courtney Cox and Hayden Panettiere are the two returning originals and they remain closely tied to the events at hand. Neve Campbell may be absent but the presence of her character, Sidney Prescott, remains.
One criticism regularly levelled at slasher movies is their ludicrous nature and this film is no exception. There is no argument for the realism of this one on both sides of the fight—Chad (Mason Gooding) being stabbed over and over again, yet still being wheeled out alive, is a prime example. The same can be said for Michael Myers and Laurie Strode in the Halloween franchise, another dominant force in this genre—realism certainly isn’t the point here.
Aesthetics are always important in modern cinema and the directorial duo of Tyler Gillett and Matt Bettinelli-Olpin tick that box. Lighting is particularly well used with regular dingy, dark areas throughout the film, such is the case on the subway and early on in the alleyway. Another example where colour was clearly important in the production process concerns the variety of Ghostface masks and how they all boast defining features, those of the likes of Billy Loomis and Stu Macher bearing wear and tear.
A defining factor in the Scream franchise is the mystery of who is behind that mask. Having a character like Mindy (Jasmin Savoy Brown) play the role of a wannabe detective, pointing out all the possibilities to the viewer, is genius. Questions begin to build up in the heads of both the characters and the audience as to who the stalker could be.
Trust is always a strong theme in these sorts of movies; the tension between characters at different points is fascinating. Part of the beauty of the film is that law officials can be just as suspicious as the obvious suspects. Dermot Mulroney is the policeman here and was a welcome addition to the cast. As someone who is already familiar with the horror genre, thanks to the likes of American Horror Story and Insidious 3, he and his character added yet another layer of mystery to the film.
The Verdict
The nod to the legacy left behind by Craven is particularly resonant and effective in Scream VI. Taking to the streets of New York City provides a new dimension for both the heroes and Ghostface. A grandstand finish ebbs and flows in what may well be the best Scream film to date.
Scream VI is in cinemas now.
Words by Jamie Rooke
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