Scream 7 Review: A Nostalgic Yet Messy Sequel Settles for Solid Over Seminal
Whether you adore or despise the Scream franchise, it is challenging not to respect its enduring legacy at this stage. Even without comparing it to other lazy slasher sequels that follow a predictable stalk-stab-repeat formula, this series has thrived for three decades. It has continuously extended an insanely convoluted soap opera narrative, found fresh ways to comment on the horror genre, and appealed to a savvier generation of younger fans, with the sixth film becoming the highest-grossing entry in the United States. While nothing has surpassed the 1996 original, it is difficult to argue that there has been an objectively bad Scream movie; even at its less effective moments, a buzz of effort and energy persists.
The Return of Familiar Faces Amidst Production Turmoil
The franchise continues its run, albeit with more noticeable flaws, in Scream 7, a scrappy and passably entertaining new chapter that limps to the screen with visible wounds. Initially, the plan was to continue the story of the Carpenter sisters, introduced in the 2022 hit relaunch. However, after the controversial firing of star Melissa Barrera for speaking out on geopolitical issues, producers returned to the drawing board. That drawing board essentially featured a headshot of Neve Campbell, the original Scream queen, alongside dollar signs, as she had rightfully declined the sixth film due to what she described as a lowball offer. Reports suggest that approximately seven million reasons later, Campbell has rejoined, front and centre, accompanied by amusing references to her absence in New York and reunions with familiar, albeit confusing, old friends.
Control of the series has been handed back to Kevin Williamson, who wrote the original, second, and fourth films, proudly claiming credit for the best three entries with significant assistance from the late Wes Craven. Williamson co-writes and directs here, marking his first directorial effort since 1999's defanged dark comedy Teaching Mrs Tingle. He is joined by a returning Courtney Cox and teases fan service cameos from characters previously assumed dead. For a series that prides itself on goofy Scooby Doo-style reveals, the supposed suspense lies in anticipating just how absurd things will become.
Plot and Character Dynamics in Scream 7
After an effectively tense and promisingly choreographed cold open, featuring a true crime tourist couple mistakenly Airbnb-ing the infamous Stu Macher house from the original film, the story shifts to Sidney Prescott as she attempts to build a new, killer-free life. Her eldest daughter Tatum, played by Isabel May from the Yellowstone universe, portrays a 17-year-old, which raises timeline questions given the fourth film's 2011 release. Tatum's curiosity about her mother's past creates a distance between them, a gap between what is known and what is discussed. Sidney's past inevitably catches up with her as a gory killing spree begins, potentially orchestrated by someone presumed dead. At this point, if Sidney were to move into your town, you might be forgiven for chasing her out with pitchforks.
Despite being the father of not only the franchise but also the self-referential, self-parodying horror subgenre, Williamson opts not to imbue the film with larger meta commentary. The sixth chapter was similarly lighter in this regard, carrying over the fifth film's playful skewering of online fanboy culture but focusing primarily on a simpler revenge narrative. Marketing campaigns teased an "everything has led to this" style reveal, promoted as the final Scream film, though it clearly will not be. The ending, however, feels clumsily improvised, lacking the sense of a grand, premeditated plan. Without delving into spoilers, the deranged explanation for the killer's motives is conceptually interesting, addressing issues beyond the film, but it is handled less slickly than expected from Williamson, who seems somewhat lost in territory he once mastered.
Strengths and Weaknesses in Execution
Williamson, once able to define teen speak for an era with overly verbose yet witty dialogue, struggles to capture the sound or vibe of a new generation. The latest teen recruits come across as too bland to register significantly. The film only truly kicks into gear with the return of Courtney Cox's fame-hungry journalist, alongside the much-stabbed surviving twins played by Mason Gooding and Jasmin Savoy-Brown, whose entrance stands out as one of the film's few applause-worthy masterstrokes. These characters nail the light-footed tone and zippy energy essential for a Scream movie, but Williamson, along with returning writer Guy Busick, often juggles too many spinning plates, forgetting which ones are still in motion and why.
Thankfully, Campbell and Cox are given more substantial roles, with the film exploring their complicated trauma-bond friendship through an interesting, if underwritten, arc. Additionally, there are some inventively nasty kills, contradicting Williamson's claim that this would be a less violent installment. Despite numerous callbacks, the most effective nostalgia play is the return of original composer Marco Beltrami, whose rousing, albeit largely re-used, score delivers a genuine goosebump effect.
Final Verdict on Scream 7
The challenge with the Scream films is that while the bar for a seventh slasher sequel might be low outside the franchise, the internal expectations for a Scream sequel are considerably higher. Scream 7 shows just enough signs of life to suggest viability, with tracking indicating a huge opening weekend, making Scream 8 an inevitability. However, Williamson often feels like he is treading water when he should be drawing blood. Ultimately, Scream 7 is a messy but mostly entertaining addition that settles for solid over seminal, releasing in cinemas on 27 February.
