Many consider Wes Craven many things — a master, genius, game-changer. And I think, in my honest opinion, that he deserves such titles upon his name. He made two classic horror franchises that inspired many directors, and some of his other works also caused shifts in the genre due to the symbolism and sharp thematics behind the brutality of his scares. The best example of this is “The Last House on the Left” (1972), which dealt with the violence and angst of people in a world still feeling the perils of Vietnam, Nixon, and the Manson murders. Without that 1972 exploitation piece, many slasher flicks and shlock grindhouse pictures wouldn’t have been made. Although it may not be your favorite horror movie, it is truly one that has caused shifts in how many directors view the genre in terms of brutality and thematic capability.
‘Scream VI’ Brings a Mixed Bag
It is also fair to say that Craven reinvented the horror genre thrice in different decades. One of those times was when he modified the usual horror formula seen in the ’80s with a more parodic and self-reflexive take. That film was the brilliant “Wes Craven’s New Nightmare” (1994). Being the seventh installment of the “A Nightmare on Elm Street” franchise, Craven decided that his usual tricks wouldn’t work this time around. There were already too many people copying it throughout the years, and the audience has already seen what it can bring to the table… or did we? So, he blends the lines between reality and fiction with a meta-textual approach to the Freddy Krueger character, even casting final-girl Heather Langenkamp and Robert Englund both as themselves and their cinematic franchise counterparts.
Two years later, “Scream” arrived and took the world by storm. I’m not the biggest fan of the franchise, yet I admit, some of the installments, primarily the first two, do have their cleverness and brilliance. Outside of the first two films in the franchise, the rest have been quite frustrating to watch. Since switching to cover modern horror conventions and takes, the “Scream” films have gone into a territory that nobody could save — one dull film arrives after the other. And it is unfortunate because the first two had a brilliant mixture of campy satire, blood, and guts — all elements that Craven thrived at. Twelve years have passed since the catastrophic “Scream 4,” and we are now, for better or worse, on the sixth installment, the second feature helmed by directing duo Matt Bettinelli-Olpin and Tyler Gillett (“Ready or Not”). And it arrives as a mixed bag.
Following Last Year’s Events, Only in New York
Following the events of last year’s sequel-reboot, “Scream VI” follows the self-titled “core four,” Samantha (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy-Brown), and Chad (Mason Gooding), as they have moved to New York City for university (the classic franchise tag of “running out of ideas”). Although the rest of them are going out and living their lives without some sensation of restraint, Samantha still feels stuck. The tragedies that transpired in their recent past have taken hold of her. Samantha is quite hesitant about going out at night and in public, as she’s been targeted as a “killer,” and rumors have spread that she organized the killing in the last film. The new killer roaming around the Big Apple swinging their knife from left to right seems to think so too.
The classic Ghostface mask rises once again, but who is the murderer? Is framing Samantha their only reason for doing such atrocities? All that we know is that whoever’s wearing the mask is targeting the “core four” — its vengeance surging from the bloodied conurbation’s past. In different segments, “Scream VI” showcases the best and worst tendencies of the franchise, the eye-rolling self-reflective dialogue, and brutal creative kills. The former has to do with James Vanderbilt Guy Busick’s lackluster screenplay, which often seems forced to recreate Wes Craven’s vision and Kevin Williamson’s dialogue, but in a ripe and modernized way. It wants to embrace the current horror culture but doesn’t have a grasp on what makes the new genre features arriving in today’s cinema and the impact it brings to us fans.
Despite Neve Campbell, Sidney Still Plays an Absent Role
As a result, instances where you see glimpses of brilliance are immediately cut down by self-aware conversations about the past instead of embracing an innovative and fresh future. Even though she isn’t in this film, “Scream VI” still bears on to Sidney Prescott’s ghost. Her presence gave the necessary spark to make this franchise work in the first place back in 1996. Because of its inclination to modernize what has been done before and the lack of Neve Campbell, “Scream VI’s” focus shifts on many occasions. The thesis for this film, in its essence, was already articulated, although poorly, in the previous installment. The only addition to it is the talk about the franchise and its main players, which means to add a nostalgic factor to the film.
The main reason I felt disconnected from the story the film wanted to tell is that I didn’t believe in the characters or care for them. I did enjoy some of their performances. Jenna Ortega’s punky edge shines as she keeps working on horror projects. Jasmin Savoy Brown is carefully witty, and her line delivery is acute. However, some of the new players in the cast (and some old ones as well) become lost in the film’s messy nature. Dermot Mulroney is a great actor and fascinating to watch, but it seemed as if he was playing a role in three different movies. If you want the audience to feel connected with them, there needs to be proper character development. And this movie lacked such in all of its characters, presenting the new guys and carefully letting us know about the old’s current lives.
Nevertheless, Some Brutal Kills and Unique Scares Present Themselves
Nevertheless, some positive aspects of the film show “Scream VI’s” promising side. The movie doesn’t make good use of its New York City setting outside of two scenes that are its best: the bodega and subway sequences. In those tension-filled and scary scenes, we see the possibilities of distinctiveness and originality. Those scenes make the audience gasp and hold for dear life onto their seats. The latter easily makes the top five moments in the franchise. Bettinelli-Olpin and Gillett’s direction in those aforementioned scenes demonstrates the best of their abilities. The aspect of being hunted by a ghostly presence fills the screen with suspense and dread. Unfortunately, that sensation wasn’t present in the rest of the movie.
It could’ve been a more effective, scarier, and memorable picture if it hadn’t kept itself from repeating the same maneuvers seen in the franchise before. “Scream VI’s” finale ends up as a Scooby Doo reveal. The killer could have gotten away with it if it weren’t for those meddling kids. It’s disappointing that its inclination toward comedic sensibilities has reached a point of being unfunny and risible instead of poignant and clever like in the films that kickstarted the franchise. Will we ever get another “Scream” sequel that can stand up against the first two? At this stage, probably not.
Currently, “Scream VI” is only available to watch in theaters.It opens tomorrow, Friday, March 10th, 2023.
