Directors Matt Bettinelli-Olpin and Tyler Gillett top the list with this fifth Scream, paying homage to Wes Craven’s talent and helping enrich the metafilmic world of the saga with a film that’s also a treat for fans. Daniela Catelli’s review.

Premise: this is a completely non-spoiler review and we’ll only say about what the plot already knows, without going into useless and dangerous details. Not only to fulfill Ghosftace’s request, but to honor the memory of Wes Craven, the writer, the public and ourselves. The problem that, for example, the critic of The Guardian did not ask himself who, was apparently “forced” by his newspaper to cover a film that did not fall within his area of ‚Äč‚Äčinterest, reveals a lot, with all due respect to the British exhibition. play and messages from the film. Telling too much about the plot is never good and is often just an indication of the critics’ inability to deepen the analysis, but in the case of Scream in particular it is a grave sin. Indeed, we advise you to go and see it as oblivious to what is happening and resist the temptation to “peek”. Of course, it’s okay to review the basics, but even if you haven’t seen any of the films in the series, you’ll still understand what’s going on, as writers James Vanderbilt and Guy Busick summarize the basics along the way, so you can also see the new Scream and go back to the original later.

So what’s interesting to know is just this: 10 years after his last bloody appearance, Ghostface again summons the Woodboro children, to pursue and slaughter them. To end this somber anniversary, historical characters from the first Scream (or Stab, in fiction) return to the scene, or Neve Campbell’s heroine Sidney Prescott (a homologue of Laurie Strode of Halloween: John Carpenter is also honored in the film), reporter Courteney Cox’s Gale Weathers and his ex, retired sheriff Dewey “Linus” Riley by David Arquette (but there’s another, less predictable return than Andrew Garfied in other films). You’ll find out how, why, and how these characters interfere with new characters. We’re just telling you that older viewers will have the opportunity to face the past through them, and that implies a great message for kids: adults can be pretty messed up, but they’re not all bad and just as survivors they have a lot. things to teach those who are facing the same problem today.

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After appreciating the love of splatter and knowledge of its mechanics by Matt Bettinelli-Olpin and Tyler Giller in their debut film, the incredible Till Death Do Us Part, we’re not surprised by their wisdom in staging between extreme violence and the irony of a story that constantly reflects himself, on the past and current trends in horror. Situations repeat themselves, references and quotes too, but the tiny, barely perceptible gaps in the plot never lead us down a path that’s all too obvious. There are clearly clues as to who wields the sword under the Ghostface mask, but even if you understand his identity before the end, the fun and emotions will not diminish. You read that right: not only do we laugh and love the new, talented, and incredibly tough protagonists (at least those we’ve met), but above all who were there in 1996, love and love Wes cinema. Craven and – in the case of the first three Screams, the best – Kevin Williamson and their heroes and let’s not forget the golden age of horror films, he too will have the opportunity to find himself with shining eyes.

Scream, in which blood flows freely, manages at the same time to frighten, entertain and create magic that is only possible in cinema: creating visions in a cathartic hall and liberating a collective experience that sadly, even for the time being , we don’t. getting used to it. Feeling the audience breath, laughing with your seat neighbor (at a safe distance), feeling the whole room vibrate with you is one of the greatest pleasures a movie buff can experience. Scream has this plus too: for those two hours it makes you forget reality, it’s a popcorn-free movie for generations new and old, but above all, an affectionate and ironic tribute to those who can spend hours discussing whether Friday the 13th is better. (mentioned explicitly in the film) Babadook, The Witch or La casa, on the opposite side that (often but not always) distinguish the horror film fandom between those who favor the more rare and intellectual genre or those who enjoy themselves simply by growing up. spectacular body count and killing nature. We understand that behind this inspired re-quel (reboot + remake + sequel with strong ties to the original) is not only a commercial intent to get money from good-mouthed kids, but also an intention to pay homage to a great director ( it is to Wes that this film is dedicated), to an unforgettable cinema and to us, who fortunately, despite years and more and more disappointments, still believe in it.

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