The seventh spin of the Scream carousel represents a kind of homecoming, with the return of both the franchise’s most enduring heroine and the man who created the whole business 30 years ago contributing hugely to a horror that’s by no means perfect but isn’t short on pizzazz.
Whereas 7’s predecessor shifted the action to the bustling beast of New York, here we’re in more usual small town territory, with Sidney enjoying an idyllic family life and running a modest coffee shop, until a menacing phone call signals another murder spree is on its way.
Sound familiar? Of course it does, because the malevolent figure of Ghostface is gearing up for slaughter again, and has a new batch of sassy teenage girls and their unconvincing bad boy beaus to focus on, not to mention fresh hell to visit upon longstanding nemesis Neve.
View Green Video on the source websiteKey to its more robust sensibilities is Kevin Williamson, writer of three previous entries (including the premise-establishing opening brace) and lowering himself into the director’s chair for the first time.
Cox’s introduction this time round is terrific, a didn’t-see-that-coming moment that’s likely to have devoted fans breaking into applause, and Williamson gleefully stirs the pot by bringing back other familiar faces long thought to be deceased – a canny plot point involving FaceTime cellphone exchanges and theories of Ghostface employing AI as an accomplice providing a credulity loophole.
In truth, those mystery elements could have been handled more effectively, and while the grisly attacks and fight scenes are choreographed with flair they don’t offer viewers much in the way of jaw-dropping shocks they haven’t seen before.
There are undeniable faults, plot holes and a dubious ending, although it’s still a crowd-pleaser executed with zest, suggesting Williamson is integral to Scream, if you wanna go faster.
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