Horror films are the most prone to reboots, remakes, etc. for a few reasons: 1. Fans of the genre are among the most passionate in the entire world of entertainment. 2. It doesn't require the absurd financial backing of a traditional IP revival, making the opportunity for profit much greater. 3. Reviving a property can be an effective way to introduce something to a new generation of audiences and reignite and/or expand its popularity in the process.
Unlike some other slasher franchises like Texas Chainsaw Massacre or Friday the 13th that have gone through several iterations over multiple decades with no real constant elements outside of a famous masked killer and some gruesome deaths, Scream was a much trickier series to plot a comeback for. Not only is the brand defined by a trio of protagonists (Neve Campbell's Sidney Prescott, Courtney Cox's Gale Weathers, David Arquette's Dewey Riley) and the use of a now signature meta tone, but the lead architect of the series Wes Craven passed away in 2015 and trying to fill his shoes is a very intimidating task for any student of horror young or old to take on.
A new Scream film finally started to come to fruition in 2019 when Paramount acquired the rights once the not technically dead Weinstein Company let them lapse. Shortly afterwards, Tyler Gillet and Matt Bettinelli-Olpin-who were hot off the success of their new cult favorite horror comedy Ready or Not- were hired to direct it. Despite their relative youth and small resume of features (Scream marks just their 3rd directing gig on a full-length movie), the duo also known as Radio Silence seemed like a great choice for the gig and the public signs of confidence that the three recurring cast members and original franchise writer/executive producer Kevin Williamson showed in their ability to revive and honor the legacy of Scream was incredibly encouraging. That universal good faith proved to be justified as Scream hits all the right homage notes while still doing enough to distinguish itself from the original run of films to successfully bring the series into the present day.
If Craven had been tasked with making a Scream about the current horror landscape, it would probably look like a lot like this. Gillet and Bettinelli-Olpin along with their writing partners James Vanderbilt and Guy Busick have a thorough understanding of what the modern horror climate that's largely shaped by the continuing emergence of internet-driven fandom looks like and how it operates. Using this prominent subculture as the backdrop for a Scream film leads to an immensely clever product that splits its time between leaning into, laughing at and brutally taking down the practice of rebooting franchises and how fandom is weaponized to go after anyone that is believed to have not honored the sacred originals with their versions. Exploring toxic fandom from an even-keeled point of view that points out the bullying under the guise of love that sits at the heart of the practice while also understanding the place of territorialism that's its coming from and acknowledging that certain reboots do spectacularly fail in their missions to revamp the originals is some exceptional meta filmmaking from people that seem to have the insider knowledge that comes from being on both sides of this ugly duel between creators and fans.
Adding to the wit and weight of the new Scream is the way the "legacy" characters are used. Sidney, Dewey and Gale are all at different places in their lives and have different relationships with the events of the previous films (Sidney has finally found peace by getting married, starting a family and leaving Woodsboro behind for good, Dewey's extensive physical ailments sustained by several Ghostface attacks over the course of 15 years have forced him to live with permanent reminders of the past, Gale doesn't really seem to give a shit either way now that she's found success as a national morning show host). The lone constant between the three is their initial reluctance and eventual acceptance of having to confront Ghostface once again. This approach also makes for a clever, surprisingly heartfelt metaphor for these actors deciding to come back to play these roles for the 5th time. It had over a decade since they last portrayed these characters and the prospect of returning to the Scream franchise without Craven or Williamson being involved with the on-screen product had to be bittersweet since those two guys are just as synonymous with the brand as they are. Through their own sense of duty to honor what they've created and entrusting the new creative team to do right by them, they were able to come in uphold and add to the legacy of their characters and the franchise in meaningful ways.
As effectively as Laurie Strode has been used in the new Halloween films, it was refreshing to see a "Requel" that uses its original characters as a key complement to the plot and not the driving force behind it. Seeing this iconic trio impart the wisdom they've gained from all of their previous battles with Ghostface to help a new generation of Woodsboro residents (Melissa Barrera, Jack Quaid, Jenna Ortega, Jasmine Savoy Brown, Mason Gooding, Mikey Madison, Dylan Minette, Sonia Ammar-all terrific, magnetic performers who are fully onboard with the old meets new spirit of the film) figure out why they're being targeted and who's behind the killings instead of simply being prey again is really the ultimate sign of respect for the roles they've played in turning this series into something special as well as an organic way to pass the torch to the next generation.
Everyone involved with this project should be incredibly proud of what they accomplished with Scream '22. It's hard to imagine that Craven would be anything less than thrilled with how they were able to make something that plays by Scream's satirical, trope-crushing/embracing balancing act while also adding new wrinkles that reflected where horror is today and the long journey the iconic characters have taken over the past 25 years. As somebody who was too young to experience the impact that the original Scream made in real time, seeing something that has the ability to mock, lament and celebrate the state of modern horror with such clear-eyed precision and deft skill feels like it could be the birth of another watershed moment for the genre. Even if it doesn't ultimately usher in a revolution where creative reinvention mixed with admiration for the past becomes the new industry standard for sequels, "Requels" or any other revival or continuation of an established franchise, this Scream should go down in history for how it honors the spirit of the original film and the people that made it special in the sincerest fashion possible without ever reducing itself to an endless parade of shameless fan service.
Grade: A-
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