By now, if you’re genuinely interested in Scream 4, you’ve probably read a good 15 reviews of the film. I’m certain you didn’t miss the heavy load of high ratings, and general adoration for what’s been labeled the launch of a new, modern trilogy. While I can get behind plenty of the elements the film offers, I can’t honestly say Scream 4 is the “cat’s meow”.
The picture starts off with a powerful punch of parody, and a quick string of cameos that franchise fans will not only appreciate, but expect. The setup is solid on all fronts, as a public appearance to promote her new self-help book brings Sidney Prescott back to Woodsboro, where she reunites with fellow franchise staples Dewey Riley and Gale Weathers (who’s now married to Dewey). Of course, along with Sydney comes Ghostface, hell-bent on disposing of our three focal figures along with a whole new group of youngsters that this particular viewer had a load of trouble caring about.
While the first act is entertaining while self-aware, the second act stretches, feels strangely pretentious, and paints virtually every supporting character the red herring; there’s some mystery in the early development, but by the time we’re really working to solve the puzzle of logical Ghostface contenders, just about every single new character introduced has already met the blade, and our antagonists are almost absurdly evident. In fact, this is one of the film’s most glaring flaws; if we’re launching a “new trilogy”, shouldn’t we be witnessing the torch passing, or at least something new other than the usage of the world wide web?
Unfortunately the inclusion of tech heavy talk and contemporary lingo (that, in my opinion could have been more effective if delivered in a more passive tone) feels more forced than natural, taking dialogue in the direction of a parody mocking a parody; a point that’s further evidenced by the complete lack of atmosphere the film carries. The picture actually feels a bit convoluted and confused, as though it’s struggling to find an identity most of the time; stuck somewhere between 1996 and 2011. I’d go so far as to say that watching Scream 4 almost feels a bit like watching a rerun you can remember, just not too vividly.
Now, with all that said, there are some strength’s to Craven’s fourth franchise installment that are well worth praise and note. As a massive Scream fan, it was great to see the MPAA hadn’t completely had their way with the picture; there’s plenty of blood and intestines, and a pair of murders that really resonate long after the final credits roll. I’m not as quick as most critics to call it the bloodiest of the series – as I found the finale of the first film to be excessively gruesome, and as stomach turning as any scene you’ll see in Scream 4 – but it’s damn nasty, and if you’re a fan of the sticky stuff, you’ll find the feature satisfying for certain.
The final act, I want to note, is also extremely well assembled, and almost manages to erase the immediate memory of the pacing and atmospheric problems that arise during the second act. The big reveal isn’t as jarring as the actual final showdown (which features one of those extremely cool kill scenes I mentioned) itself, but the action unfolds without a hitch, and there’s plenty to mull over as the story comes to a climax. Kudos go out to Wes Craven who utilizes experience and heaps of genre prowess to close on one of the film’s highest notes.
There is (of course) big praise in store for a few specific performers in tow, as Hayden Panettiere, Alison Brie and Erik Knudsen all offer strong memorable performances. Panettiere is exceptionally convincing as the head strong, unspoken “leader” of the film’s youthful crew. It’s unfortunate to see Emma Roberts fall completely flat, but that’s a risk any director takes casting opposite a personality as dominant (and talent as refined) as the already seasoned Panettiere. In the end, you get one fantastic performance in exchange for one drab performance, and in this case I suppose you could call it square.
In closing, I want to stress two major points; First, I did indeed enjoy Scream 4. It’s a fun film that – while not perfect – has some witty, entertaining moments and manages to do a fair job of touching down on contemporary trends, pop culture and of course, horror cliché’s. It’s also always great to see Neve Campbell, David Arquette and Courtney Cox on screen together (reprising what may end up being each of their most memorable career roles). My second point; I didn’t love it to the extent that the majority of critics seem to have. The nod to modern pop culture was, as aforementioned, a sound concept. To push the obvious angle of nostalgia just feels awkward and forced; it’s not 1996 anymore. Knowing how focused, and relevant the first Scream was while successfully avoiding being overbearing or obnoxious, leaves me wishing this installment felt a bit less contrived. In the end, Scream 4 is worth the $10 ticket, though it won’t garner multiple visits to my local cinema, as Scream did for me some 15 years ago.
OVERALL SUMMARY
Scream 4 puts franchise fans back in the world of Woodsboro, Sidney Prescott, Dewey Riley and Gale Weathers. While it’s a wonderful world to be in, it’s an equally dangerous realm…Just about as dangerous as franchise fourth installments.
