Preamble

When it rains, it pours. And that’s not just current English weather. Scream 7 has come out at a similar time to the new Resident Evil game- Requiem. And as curious as I’ve been to see the new slasher instalment, it’s felt like a slight pull away from that experience. But in all honesty, I’ve had a lot of fun writing this review. With that said, what did you think of Scream 7? Let me know in the comments below.

Review

From its tagline alone- “Burn it all down”, Scream 7 suggests a violent and bold reinvention that’s befitting of its central slasher. However, this proves to be anything but the case, with an instalment that circles the wagon of its central heroine’s place in the Scream franchise, in a way that feels oddly reactionary.

The new instalment sees Sidney Prescott (Neve Campbell) caught up in a new series of Ghostface murders, who are using the image of Stu Macher (Matthew Lillard) to taunt her and her daughter, Tatum (Isabel May).

Aside from the new interpretation of the “Rules” scene and an opening immortalising the events of the first movie via a grisly, true-crime-inspired Airbnb, Scream 7 drops its meta-textual voice of the horror genre.

What remains is a commendable commitment to the drama and angst between Prescott and her daughter, Tatum. Whilst some of this land (particularly the pair’s final scene), most moments are in service to the movie’s misguided subtext.

Scream 7 feels incensed at the fact that Sidney was not present for the events of the last movie, so it goes out of its way to create a plot for her to come to the conclusion that she should not have missed them.

This approach comes across as one-note and quite egotistical, as previous instalments have illustrated how Sidney is a unique final girl, whilst also not being afraid to critique the concept itself. The result is tantamount to a franchise circling in a way that takes the teeth out of its AI and deepfake plot points.

In fact, the film does not seem remotely interested in exploring the implications of these aspects, insofar as they affect the genre at large or the psyche of those targeted. Sure, we wonder if Stu is alive, but given the franchise’s propensity for swapping killers, it never leaves us in suspense.

Scream 7 marks the return of Kevin Williamson, who does double duty as co-writer and director. On the fringes of the screenplay are touches that made his influence on earlier movies unique and welcome. This mostly comes from Tatum questioning her status as Sidney’s daughter and Mindy’s euphoric suspect dissection. But these exist on the sidelines of a screenplay that’s designed to justify Sidney’s existence.

This is a shame, as Neve Campbell’s performance does illustrate a domesticated, no-nonsense Sidney who feels authentic (despite where the screenplay ultimately takes her). Courtney Cox is cheerworthy in a performance that retains her biting edge and humour. Likewise, Anna Camp lives up to her surname in a performance that plays to the rafters in its depiction of fervent fangirl rage. And Jasmine Savoy Brown proves to be as formidable as Jamie Kennedy in her postmodern deliveries.

As for Williamson’s direction, it’s playful insofar as how he places Ghostface in the frame, which actually makes the character the most spectral he’s ever appeared in the series. And some use of low-angle shots and dolly zooms results in a dreamy flair that typifies the series. However, much like the movie’s ultimate meaning, the direction is in service to placate, not much else.