Movie Review ~ Scream (2022)

Just when you thought it was safe to stop #Scream -ing…

The Facts:

Synopsis: Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, a new killer has donned the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past.

Stars: Neve Campbell, Courteney Cox, David Arquette, Melissa Barrera, Jenna Ortega, Jack Quaid, Mikey Madison, Dylan Minnette, Jasmin Savoy Brown, Mason Gooding, Sonia Ammar, Marley Shelton, Kyle Gallner, Reggie Conquest, Chester Tam, Roger L. Jackson

Directors: Matt Bettinelli-Olpin & Tyler Gillett

Rated: R

Running Length: 114 minutes

Trailer Review: Here

TMMM Score: (5/10)

Review: “What’s your favorite scary movie?” may now be a cultural touchstone phrase forever related to the classic film Scream, but it’s always been a litmus test to see where the person being asked falls on the scale of horror fandom.  If the answer is a deep cut, something from the Italian Giallo master Dario Argento or French cult vampire director Jean Rollin, you know you’re dealing with someone that has ventured further than the confines of their neighborhood video store.  Answering with a more commercially minded offering like a Friday the 13th or a Halloween tells you you’re in the presence of a person that doesn’t mind some blood, gore, and jump scares.  Get a response from a Frankenstein fraidy-cat and you may want to reconsider suggesting anything stronger than a black and white Universal classic.

For many, the answer to the question posed by the killer to Drew Barrymore’s doomed character in 1996 is, in fact, the very movie that asked it to begin with.  Scream opened to soft business in Christmas only to grow into a word-of-mouth hit, so much so that by the time the enjoyable sequel was released in 1997 both films had the distinction of being 1997’s top earners.  Fans of the franchise are legion, and after two more sequels (one in 2000 and the last one in 2011) it has amassed a devoted base that can and have spent much time arguing over the official order of quality, though you’d be hard pressed to find a list that doesn’t put the one that started it all in the prime spot. For the record, I’m a 1, 2, 4, 3.

Though the title lived on in television under the guise of an MTV scripted series with no ties to the original cast or setting, the first two seasons attempted to tell a continuing tale before killing off much of its YA cast.  I didn’t even bother with the third, standalone season, and from what I’ve heard that was for the best.  After the success of the continuation of Halloween in 2018, it still was a surprise when it was announced in March 2020 that Radio Silence, a filmmaking collective which found success in indie horror before making a snazzy showing in 2019]’s impressive Ready or Not, would direct and executive produce a fifth Scream movie incorporating original cast members with a new group of teens stalked by a vengeance-seeking killer.  As a dedicated fan of the films and the franchise in general (not to mention a number of the previous films Radio Silence has produced), I was thrilled for another gathering of my favorite cast members and a return to the whodunit slasher film that I have a true fondness for. 

Needless to say, as we move forward into the meat of the movie, this is a spoiler-free zone.  Aside from watching the first trailer for the movie the day it was released, I haven’t watched any other marketing for the film so can’t say what may be in the previews that could be a potential spoiler…but I won’t be giving away anything that could ruin your experience.

Well…maybe one thing.  And that’s my feeling toward the finished movie.  Surprising myself, I left the theater after my screening of Scream (which, it should be strongly stated, is Scream 5, no matter how the filmmakers and studio try to spin it) sort of aghast at how much against it I felt.  The more I heard how many people did like it, the more I was wondering if I just saw something different or my tastes had changed…but this was almost directly after gleefully binge-watching the previous four films.  Delivering on the “goods” if you will (read: killings, blood, and guts) but shortchanging fans that know their Woodsboro ins and outs with a number of discrepancies and head scratching choices, the screenplay from James Vanderbilt (White House Down) and Guy Busick attempts to make connections to the past at the outset but abandons its own efforts by the messy end.  Worse, the film suffers from a strong case of the unlikeables, characters and cast members that either don’t appear long enough to create much of an impression before they’re sliced or grate on the nerves to the point where you feel like paging Ghostface stat to get on with the show.

It’s been twenty-five years since the original murder spree changed the sleepy town of Woodsboro forever.  The survivors of the attack a generation ago have encountered several copycat slayings over the subsequent years but for the last decade there has been a peaceful silence which has allowed lives to be led without much fear.  Then Tara (Jenna Ortega, Insidious: Chapter 2) gets a phone call while alone in her house and hears a voice familiar to us but unfamiliar to her.  Remember, Stab (the movie within Scream 2 based off of the events in Scream 1) came out over two decades before and its sequels have long since fizzled out.  Poor Tara should have stayed up to date on her old-school horror trivia because things don’t go well for her when quizzed on her knowledge of Stab and Woodsboro’s sordid history.

Hearing the news about her sister from a town far outside of Woodsboro, Sam (Melissa Barrera, In the Heights) returns with her boyfriend Richie (Jack Quaid, Rampage) just as secrets from her family’s past and a clever killer targeting those with ties to the 1996 murder spree emerge from the shadows.  Teaming up with Tara’s friends, among them Amber (Mikey Madison, It Takes Three), twins Mindy (Jasmin Savoy Brown, Sound of Violence) and Chad (Mason Gooding, Booksmart) and Wes (Dylan Minnette, Prisoners), Sam and Richie eventually realize they’ll need the help of the remaining few who’ve experienced this before if they have any hope of surviving the game plan of a killer (or killers?) always several steps ahead of them.  Enter Dewey, Gale, and Sidney.

To say the film feels lighter the moment even one of the legacy cast members is on screen is an understatement.  Originally meant to be killed off in the first film and then set to die in the sequel, original director of the first four films Wes Craven and his producing partners had such a strong reaction to David Arquette’s (You Cannot Kill David Arquette) portrayal of Deputy Dewey Riley (not to mention his popularity with fans) that they made sure to shoot endings where he lived.  And you’ll be especially glad he did because his presence in this entry is so useful, bringing not only that trademark goofiness to the role but an emotional sweetness that has always defined the role and made it unmistakably his.  Noticeably absent for much of the film are Courtney Cox (Masters of the Universe) and Neve Campbell (Skyscraper), but they’re like that time Madonna made all of us at her concert wait two hours after the opening act before she went on.  By the time she showed up, we were more than antsy but when she did…it was completely worth it.  Same goes here and not only do Cox and Campbell fit right back into their characters like no time has passed, they highlight the biggest problem with the movie for me.  The acting.

I’m not sure what’s up with this cast but I think each and every one of them I’ve seen and liked far better in other projects.  Here, it’s like no one was acting in the same movie or playing off of one another to any winning effect.  It’s never more evident than with Barrera who has some of the strangest line readings, coming off as emotionless when the scene calls for drama and often absent as strong support for those she is acting opposite. I felt for Ortega who is acting her face off, performing the role like it’s the last thing she’ll ever do.  I wish the performance (which, to be clear, is solid) was in a different movie she was headlining.  Brown is another standout, finding herself a nice match for the dialogue which has some hints at original scribe Kevin Williamson’s quick meta banter but never reaches that same smirking bar which made Williamson’s screenplays, for lack of a better word, iconic.

Which brings me to another low-ish point.  Vanderbilt and Busick don’t have Williamson’s knack for snappy phrasing, relying much more on accessing the characters F-Bomb portal than having them volley back-and-forth.  While Brown gets those nice moments to explain the rules surrounding a ‘requel’, too many references are made to fifth entries not living up to their potential, being ill-advised, not being titled correctly, etc…. basically heading off all the naysayers at the pass and beating the critics to their punches.  In that way, the script starts to feel like it’s apologizing for itself instead of creating its own playing field. A few missed opportunities along the way exist, making you wonder if there wasn’t more to the story that was left on the cutting room floor or if the screenwriters are saving something for potential sequel routes. 

Perhaps you can tie some of it back to that Wes Craven touch which guided those first four films.  Dying of brain cancer in 2015, Craven was never going to be a part of this new film and while no one is claiming the previous sequels to be flawless (let’s face it, as fun as Scream 3 was, it was also silly and falling apart at the seams) or that Craven was a can’t miss director, he set the look and feel of the franchise from the start…down to Marco Beltrami’s score which I was also sad to see wasn’t back. Yet…you just can’t divest yourself from feeling that if directors Matt Bettinelli-Olpin & Tyler Gillett were attempting to honor Craven they would have displayed some of his knack for spotting acting talent on the cusp of greatness. Going into more details is definitely tipping the scale toward spoilers…but we can chat after you’ve seen it and I can explain more.

I’m disappointed for myself that I didn’t like the movie a little more than I did.  This isn’t about living in any kind of past because onward we must travel, especially if we want the things we hold dear to continue to thrive.  Personally, I hope this Scream makes huge bucks (all signs point to a big YES in that department) and more films in a similar vein are made.  I would ask, please, that the same kind of focus is put on the key pieces that elevate a movie to classic status though.  The original cast and script of 1996’s Scream simply can’t be beat, even all these years later.  I can’t say the same for this continuation…but trust me, I wanted to. 

Now…I’m a 1, 2, 4, 5, 3 person.

31 Days to Scare ~ Scream (2022) – First Look Trailer

Synopsis: Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, a new killer has donned the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past.

Release Date:  January 14, 2022

Thoughts: It’s been 10 years since we’ve heard that familiar voice on the phone calling the latest batch of doomed flavors of the month (quick…how many of the teenage cast members of Scream 4 are still a ‘thing’?) and so the return of Ghostface is being met with an expected marked frenzy.  Going the 2018 Halloween and 2020’s The Grudge route and leaving off any numerical suffix, 2022’s Scream is the first not to be directed by Wes Craven who passed away in 2015.  In the hands of Matt Bettinelli-Olpin & Tyler Gillett (also known as Radio Silence, the team behind 2019’s Ready or Not), we’re back in Woodsboro for a new series of murders that tie into the events from a generation earlier. 

As excited as I am for this new installment, I almost wish I hadn’t watched the lengthy preview because…boy does it show a lot more than I wanted to see.  I know this cast is huge and the body count has the potential to be plentiful but seeing the fates of several characters (and perhaps a healthy bit of the opening) feels like we’re being served far too much before we’ve even sat down to eat.  Fingers crossed the twists make up for the trailer spoilers, but this is the last time I’ll watch any promo materials for the film before it is released.

Movie Review ~ Ghosts of War


The Facts
:

Synopsis: Five battle-hardened American soldiers assigned to hold a French Chateau near the end of World War II. However, they encounter a supernatural enemy far more terrifying than anything seen on the battlefield

Stars: Brenton Thwaites, Kyle Gallner, Theo Rossi, Alan Ritchson, Skylar Astin, Matthew Reese

Director: Eric Bress

Rated: R

Running Length: 94 minutes

TMMM Score: (5.5/10)

Review:  Looking at the movie releases over the years you begin to see the cycles of genre pics.  There was a time when war films were all the rage, then it was westerns, then horror films, then mysteries/noirs, then war films, then slasher films, then drama/art house films, then war films, then gross-out comedies, then war films, then horror films…are you spotting the pattern?  If there’s two genres that never seem to miss their cycle it’s war and horror and since war is so often equated with real-life horror it’s not totally an unexpected correlation.

It makes sense, then to see a movie like Ghosts of War emerge onto the spooky mist of streaming entertainment.  While I know it’s not the first movie to combine elements of horror into the mix of wartime, it’s the most recent attempt to add an extra dose of scares to what was already a horrific period of history.  The resulting film has its admirable moments but hinges on a disappointing late-breaking game changer, turning what had been an atmospheric ghost tale that thrived in its simplicity into something decidedly more complex and far less interesting.

In the midst of World War II, American soldiers Chirs (Brenton Thwaites, Oculus),  Tappert (Kyle Gallner, The Finest Hours),  Kirk (Theo Rossi, Cloverfield), Butchie (Alan Ritchson, The Wedding Ringer),  and Eugene (Skylar Astin, Pitch Perfect) are stationed far into the French countryside and soon cut off from their command.  Keeping watching over an expansive mansion previously used by Nazi commanders until they are relieved from duty, they aren’t in their dwelling one night before strange things begin to take place.  Visions of the dead, Morse code warnings, near miss accidents, and black magic calling cards begin to form a picture of what happened in the chateau before they arrived.

As the days move ahead the history of the house and its former owners comes into greater focus, with a found diary filling in the terrifying gaps of the story the bumps in the night are unable to tell.  Just when you think you’ve figured out where writer/director Eric Bress is taking you, he pulls the dusty rug out from under to reveal a twist that will either elevate the movie in your mind or sink it without reprieve.  Unfortunately for me (and the movie), it was a step I couldn’t take with the filmmakers and the final ten minutes faltered when they should have frightened.

Not to say it was smooth sailing until that point either.  Before the men get to the chateau, the film takes a bit to get going and we have to slog through our introductions that Bress makes feel heavy handed.  Even more than that, Bress seems intent to make the opening act particularly gruesome and unpleasant with off-putting violence.  Then there’s the case of a character that goes missing for a long stretch with no explanation.  I actually went back and watched a full twenty minutes of the movie again to make sure I didn’t miss a rationale and found none.  It’s these little things that make big impacts on the storytelling as a whole.

In the twist, Bress (who hasn’t directed a movie since 2004’s The Butterfly Effect) has something of interest but I just didn’t care for how it played into the storyline (not to mention the acting truly didn’t support this section) and that’s too bad because Ghosts of War isn’t a total wash.  There’s abut 45 minutes where the movie achieves a pleasant pace, blending decent scares (mostly of the jump variety) during the mystery solving by the soldiers.  Recommended as one of the more sturdy films of its kind, even if it starts of shaky and totally collapses at the end.

Movie Review ~ American Sniper

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The Facts:

Synopsis: Navy SEAL sniper Chris Kyle’s pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can’t leave behind.

Stars: Bradley Cooper, Sienna Miller, Jonathan Groff, Kyle Gallner, Keir O’Donnell, Sammy Sheik, Jake McDorman

Director: Clint Eastwood

Rated: R

Running Length: 131 minutes

Trailer Review: Here

TMMM Score: (8.5/10)

Review: Including a spoiler alert here because while many are aware of elements about the subject of this film, I realize that some pieces may not be as well know. To avoid any angry claims I didn’t warn you…I just did.

There’s been a lot of brouhaha in the press about American Sniper and the life of the man the movie is based on. Chris Kyle was a United States Navy SEAL honorably discharged from the Navy in 2009 who went on to write his autobiography that recently Oscar nominated screenwriter Jason Hall based this movie on. Accumulating 160 confirmed kills over four tours of duty in the Iraq War, he was thought to be the most lethal sniper in U.S. history. It was only after he was gunned down in 2013 by another vet Kyle was helping cope with PTSD that the mysteries behind certain pieces of Kyle’s memoir started to come to light.

What you should know about the film is that while I haven’t read the source novel it was based off of, the disparities between Kyle’s account and what some would argue as the truth aren’t the focus of director Clint Eastwood’s latest film. I’m not going to speak to those that claim Kyle fabricated several sequences or events, I’m merely reporting out on the movie as it was presented to us. I did read an article recently detailing the false claims and I don’t recall any of these incidents being included in the movie.

Whether that was a conscious decision on Hall’s part, creative editing after the fact, or simply not the story Eastwood and star Bradley Cooper (American Hustle) wanted to tell is anyone’s guess. What I do know is that Eastwood’s film is an edge-of-your-seat experience anchored strongly by Cooper’s revelatory performance as Chris Kyle.

Arguably the most pro-American movie you’re likely to see in some time, the film bleeds red white and blue from frame one. It’s clearly established who the “good” guys and the “bad” guys are and Eastwood makes no apologies for injecting some politicized grandstanding throughout. I can’t say it really bothered me because it didn’t really stray into that insufferable right wing territory.

Bulked up and burly, Cooper transformed himself from the sinewy muscled look of previous projects to an impressive built Navy SEAL that’s 100% believable. With his Texan twang in full drawl his performance is the most flesh and blood in his already impressive career. Cooper may have been nominated for an Oscar twice before (for Hustle and Silver Linings Playbook) but his nomination for American Sniper is his most warranted. He’s never been better.

Unlike December’s Unbroken, American Sniper doesn’t shy away from showing the after effects of war on the men, women, children, and families of veterans after they return home. A decent chunk of the movie is devoted to showing Kyle’s adjustment to life with his wife Taya (a stellar Sienna Miller, Foxcatcher), and young children. Responsible for so many fatalities, the film looks (but doesn’t press) into the psyche of those that have to live with themselves long after their service to our country ends.

To round the film out there’s a through line arc of Kyle’s multiple run-ins with a stealth sniper and while these war torn sequences are impressively staged they start to feel like a part of an action film rather than a human drama which is really what American Sniper is at its core. It’s no wonder that directors like Steven Spielberg and David O. Russell circled this project at one time or another, there’s some meat to the script and the chance to explore not just the destructive side of war but the healing piece as well.

Eastwood struck out earlier in 2014 with the disastrous Jersey Boys so I was hoping he’d redeem himself with this film and it’s nice to report he found his footing with American Sniper. The 84 year old director’s laid-back style could easily have worked against the overall momentum of the film but it’s as breathless and engaging as any film he’s made before.

Nominated for 6 Academy Awards, American Sniper may not hit on the full scope of Chris Kyle’s life, but what’s told is a powerfully moving tale of service and sacrifice.