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Review: “Scream” calls again with plenty of self-ridicule

ring. ring.

Twenty-six years after the original, “Scream” calls again. It’s currently the fifth movie in the franchise, but it’s the first movie since “Scream 4” in 2011. It’s been enough time for this, just titled “Scream”, to have no number or caller ID. This is thought to be because this “Scream”, featuring the original cast and introducing a new generation of callers and Starbucks, is a sequel and will be restarted in one. Or, as one character explicitly defines in “Scream”, “Riquel”.

Part of the charm of the original “scream” was its lustrous, unlikely slasher of the 90’s and its knowledge. The Wes Craven film, written by Kevin Williamson, created a genre’s customary plaything by being beaten by the characters, letting them openly discuss the horror metaphor. A great idea for the new “Scream” is to double the meta. Here, the long-standing “stub” movie (a fictional replacement for the “Scream” franchise) is ridiculed like a flock of cheese balls. The phone at the beginning of the movie reflects the phone Drew Barrymore received in the original, and Tara (Jenna Ortega) initially ignored the strange call on the “landline” and then on the other end. With a strange voice (again, Roger Jackson, franchise MVP), she prefers “elevated horrors” such as “Baba Dock,” “Inheritance,” and “It Follows.”

It’s easy to laugh (and agree) with such a blinking statement. The new “Scream” is full of such self-referential jokes. But that’s all.

What is the legacy of “Scream” really? In most cases, you can hardly remember the three sequels. The original was greatly boosted by the personalities of performers such as Neve Campbell, Courteney Cox, David Arquette and Matthew Lillard. (Everything except Lillard returns here.) But, as Tara suggests, the “Scream” movie is quickly like an old relic, especially given that it’s a product of Harvey and Bob Weinstein. I can see it. If anything, “Scream” survives primarily because Ghostface, a mask like its killer’s trademark Edvard Munch, is a Halloween staple.

In addition to the nostalgia of kitsch killer, James Vanderbilt and Guy Bisik’s screenwriters Matt Bettinelli Olpin and Tyler Gillett (directing the 2019 Ready or Not) It doesn’t provide much reason for retreading. And the irony of self-ridicule enough to distract almost from the thinness of the movie.

In their favor are solid young casts, including Ortega, Melissa Barrera (“In the Heights”) and Jack Quaid (Son of Dennis). Tara’s almost deadly encounter in the first scene of the movie draws her estranged sister, Sam (Vallera), to her bedside. Sam arrives with his boyfriend Ritchie (Quaid). Ritchie professes to be unfamiliar with “stub” movies, but proves that they are quickly studying the rules of their survival. We are back in Woodsboro, California. It is the setting for all “Scream” movies and the scene of the murder that is said to have influenced the “Stub” movies. When the ghostface begins to slash again, the children seek help from the early generations of Woodsboro (Alquette, Cox, Campbell).

This is the basic format that was previously removed due to multiple reboots. However, except for frequent stings of self-referential comedy, the “scream” progresses in a dull and repetitive manner. (This is the first “scream” movie that died in 2015 and wasn’t directed by Craven, to which the movie was dedicated.) None of the characters were filled much, instead just like feed on a ghostface knife. Will be provided. After all, “scream” is an unintended way to talk about remakes, reboots, and “liqueur.” It captures the fear of being trapped in an endless loop.

The release of Paramount Pictures, “Scream,” has been rated as PG-13 by the American Film Association for its intense bloody violence, wording, and sexual mention. Execution time: 114 minutes. 1.5 stars out of 4.

Published by Paramount Pictures, this image shows Jenna Ortega in the “Scream” scene.



Review: “Scream” calls again with plenty of self-ridicule

Source link Review: “Scream” calls again with plenty of self-ridicule

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