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This elegantly crafted ‘requelle’ delicately rakes the grave of the original Scream movies, but please, no more!

NOTShortly after Wes Craven went completely postmodern on his own franchise in Wes Craven’s New Nightmare (1994), the director gave a similar self-referential treatment to John Carpenter’s Halloween (1978) and his many 80s imitators with Scream (1996). ). Along the way, he’s used the power of pastiche to revive not just slasher, but an entire genre of horror that became moribund in the early ’90s.

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Where Scream looked back to slashers past, its sequels increasingly leaned towards Scream, always turning inward for rapidly diminishing self-involved comebacks while still being very reluctant to kill off their darlings. In 2011, 11 years after completing his trilogy, Craven returned for a fourth, but despite introducing Next Generation, couldn’t quite bring himself to leave his surviving company of ‘legacy’ characters ( once themselves young adults, now only adults) being overwhelmed or overwhelmed by the new blood that this franchise badly needed. And so it played out as a reactionary win for the oldies in a franchise that had once felt so fresh.

11 years later, and with Craven himself now dead, the helm has been handed to directors Matt Bettinelli Olpin and Tyler Gillett for this latest sequel – titled just Scream without the 5, just like the “pretentious” eighth entry in the franchise. Stab- in a franchise, loosely based on the “real” Woodsboro murders, is simply called Stab.

Yet the spirit of Craven – and Carpenter – still haunts this new installment. “Is Wes still bothering you?” reads a text that Tara Carpenter (Jenna Ortega) receives from her friend Amber (Mikey Madison) in the film’s opening sequence – and even though the text will turn out to refer specifically to the girls’ classmate Wes Hicks (Dylan Minnette ), the son of deputy-turned-sheriff of Woodsboro, Judy Hicks (Marley Shelton), her name and Tara’s last name indicate another layer of heritage.

Tara is attacked by a Ghostface masked killer who recreates (and updates) the famous opening scene from the first Scream (and the first Stab). Yet Tara’s survival and subsequent hospitalization will bring her older sister Sam (Melissa Barbara) back to Woodsboro from Modesto, along with her boyfriend Richie (Jack Quaid). As the bodies pile up, former Scream survivors Sidney (Neve Campbell), Gale (Courtney Cox), and Dewey (David Arquette) will also return to this ever-chilling yet ever-warming case.

They rush to unmask the killer – or killers – among themselves or Tara’s super-smart friends (Mason Gooding, Jasmin Savoy Brown, Sonia Ben Ammar, all excellent), in a small town where everyone has inherited a incestuous connection with the original massacre. Meanwhile, someone is consciously trying to re-stage, reboot and renew the Woodsboro Massacre of the 90s and bring things back to zero – someone who respects the franchise’s tradition of meta antics -cutting and which expressly interrupts any attempt to introduce fashionable post-noughties ‘raised elements. That is to say, this latest frenzy is overtly modeled – set-piece by set-piece – on the first Scream, even as it constantly negotiates its own tricky “requel” status in a horror landscape in mutation.

This new Scream plays with our knowledge of the old – a knowledge we share with the savvy characters of Stab – its very familiarity fueling nostalgia while letting expectations produce their own modest prevarications. Like Scream 4, it focuses on two very different generations who both inherited the traumas of the first Scream, though that precisely confuses the fandom’s conservative culture that demands retrograde sequels like this in the first place.

It’s as clever as the rest, and where Craven seemed to increasingly – like his masked killers – phone it, it’s certainly the most stylish of all the sequels. But despite everything, his ironic awareness of the fatigue of his material does not make him less tired in the end. Scream can stab the original repeatedly in the back (again), and can eviscerate his own tropes from the inside (not for the first, not even the fourth time), but do we really need to keep (re ) re-read those spilled over-guts?

Ultimately, every Ghostface killer revolves around the same stories and hunting grounds, with little new to show for the effort, except perhaps the promise of even more movie cashes.

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Reference of the Article-post – lwlies