‘Scream VI’ punches the idea of ​​horror-movie franchises in the face – Rolling Stone

what do you want to say about the Scream, The 2022 reboot of everyone’s favorite ’90s/’00s meta-slasher – it totally understood the pop-culture-sphere it was coming from and commenting on, i.e. the era of endless nostalgia and ” Demand”. That original cycle was about making scary movies that gamble on how much we, the audience, know about the rules of classic horror movies; Any attempt to pump new blood into intellectual property naturally had to juggle a very different world of shared cinematic universes, movie Twitter discourse, Easter eggs, etc. The skullcaps of the teens at Camp Crystal Lake turned out to be a lot more on-brand than we thought. It was a franchise, after all, that hip to toxic fandom way, Way ahead of the curve.

And yet… as anyone fluent in multi-film series will tell you, even the most discerning IP defenders still risk overstaying their welcome, even as they’ve changed the tropes of the genre and created a new one by the end of the legacy. You have established the beginning. the Scream Sixth – Oh, so we’re doing great roman numerals Now, are we? — builds on the stab-your-cake-and-eat-it good will of last year’s reset. Directors Matt Bettinelli-Olpin and Tyler Gillett are back; Those screenwriters are Guy Busick and James Vanderbilt. Melissa Barrera once again fills the position of “ultimate girl” as Sam Carpenter, and the now-super-famous Jenna Ortega returns as her equally tormented sister, Tara. Familiar new faces as Mason Gooding and the priceless Jasmine Savoy Brown as Chad and Mindy Meeks-Martin step in to welcome old faces — Courteney Cox’s Gail Weathers, naturally, but also Hayden Panettiere’s Kirby Reed (!) than scream 4 – and Ghostface.

Instead of Woodsboro, California, Carpenter & Co. Now in New York City, Tara is attending Blackmore University and is apparently trying to heal her mental pain. As for Sam, she is the target of online conspiracy theories that believe she staged all those murders and is living up to her lineage as Loomis. (Her father was Billy Loomis, aka the man who committed all the murders in the ’90s that inspired her.) stab movies.) But the fact that they’ve relocated to the East Coast with the Meeks-Martin siblings doesn’t stop a series of murders from happening around them. And guess what kind of mask the killer, or maybe the killer, is wearing? Sixth verse, same as before.

You don’t have to be a die-hard fan to chill — during a faked-out prologue involving a film studies professor, a blind date, and what unexpectedly turns out to be a triple homicide — Roger L. Jackson’s voice first posed the eternal question, “What’s yours?” Favorite horror movie?” via someone’s phone. That sinister baritone is firmly enshrined in the Horror Sonics Hall of Fame right next door Friday the 13th‘S tch-tch-tch-haw-haw-haw, Godzilla’s roar, and every John Carpenter score. but you may need to be real the Scream To be excited by the constant in-house callbacks to the film, whether it’s in the name of evasive reactions from hardcore fans or lovingly poking fun at the fact that the series is now old enough to warrant its own deep cut. Is. inside jokes. And there’s a legit concern that the characters’ ribs might get so sore from scraping each other endlessly that they won’t feel the Ghostface-wielding serrated blade. (Spoiler: Don’t worry, many of them do.)

This is exactly the equilibrium that Bettinelli-Olpin, Gillett et al. done with the Scream ’22, except they’ve already played their cards right now with what they’re doing other than old fashioned jump scares. Jasmine Savoy Brown’s speech was about getting caught up in a request that doubled as a genre-busting-film-nation, or perhaps vice versa. This time, once the corpses begin to pile up and the breadcrumb trails lead back to every past the Scream entrance, she presents a new thesis: they are now trapped in a Suffrage. Which means everyone is a suspect, everyone is expendable no matter how cute you are, and it’s less about the names above the title and everything about the title. Forget going after cheap nostalgia-fat — this post-brand-resurgence chapter wants to smack the whole concept of endless horror-movie franchising and cheap fan-milking straight in the face.


Ghostface, your favorite franchise psycho-killer, in ‘Scream VI.’

Philip Bose

This sound Kind of a level-up in terms of goals, isn’t it? Not saying anything new about any of this except the movie, and considering it’s a little over a year old the Scream Especially skewed corporate exploitation of Mary Sue Nation, overly protective fandom hives, and easily recognizable scary-movie canon fodder, this wink-wink thesis is less a death blow and more déjà vu. What’s left is what-we-can-do New York set pieces (there’s a nice cat-and-mouse sequence between Ghostface and Carpenter in a bodega, and a better chase in a crowded subway). wala scene) and it turns out, which strains the credulity even for a the Scream movie. Which is definitely saying something.

At one point, Cox’s newspaper-journalist superstar discovers a hidden warehouse where the killers have built a sort of stab Chain Pilgrimage. There’s the knife that almost beheaded Panettiere’s fan favorite — who’s now an FBI agent! You go, Kirby! – and sketches of the original recipe the Scream There are victims, and there are cases in which all are old Ghostface masks and cloaks. All of these artifacts turn the place into a mix of museum and Homicide headquarters, and without giving away too many details, it’s an important location in relation to the film’s climax. but it’s also a small analogy for Scream VI on one’s own. This sequel-to-a-sequel has all the qualities of the series you know and love, arranged everything for us to admire, and doesn’t know whether to put it under glass or kill some. Before it had to do with poses with well-worn props. For some people, that plus a few jump scares is enough. But the sixth time ain’t the charm here. And it’s definitely less funny and clever than he thinks.

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