It’s been nearly 30 years since the first Scream movie reinvented the horror genre for a new generation. Under the masterful stewardship of famed director Wes Craven and screenwriter Kevin Williamson, they delivered an instant horror classic that has now spanned generations and produced solid sequels that keep the horror genre fresh while also making commentary on society. Somewhere along the way in between Scream 5 and 6, this idea got lost, a brand new Gen-Z cast dubbed themselves the “core four”, and Scream 6 took the classic small town killer and relocated it to the big apple, where things didn’t really pan out for the best. The film tried to be way too meta and lost sight of what makes these films so endearing. After some “mishaps”, a new script was written, and the original cast, including Neve Campbell, who was missing from Scream 6 due to disagreements over salary and screen time, is now back firmly front and centre where she belongs. Taking over the reins is the original writer of Scream and Scream 2, Kevin Williamson, who also steps into the director’s chair for this instalment. It is through this that he successfully returns the franchise to its roots while keeping it current for modern horror audiences, with inventive kills and the classic question of who is behind the mask that will keep you guessing right till the very end.
Sidney (Neve Campbell) has been notably absent from the public eye; she has settled down in Pine Grove, Indiana. She is now married to Mark Evans (Joel McHale), who is the chief of police (no explanation needed as to why she married him!), along with their three kids, two of whom are relished to a half-second flash on an iPad screen at their grandparents’ house. In contrast, the third Tatum (Isabel May) has just turned 17 and seems the opposite of what Sidney was at that age. She is dating Ben (Sam Rechner) and starting her ambitions in the school play. Her two gal pals, Hannah (McKenna Grace) and Chloe (Celeste O’Connor), round out her inner circle. Also part of the theatre group is the lighting tech and Tatum’s next-door neighbour, Lucas (Asa Germann), the true crime-loving “I want to start a podcast” guy. Sidney owns and operates a cafe in the town, and it’s easy to see how this small town living and motherhood have shaped this new phase of her life.
Of course, this all gets blown up when a new Ghostface appears, making a name for themselves by torching down the original party house and crime scene from the first film in Woodsboro. This is done through a very entertaining Airbnb kill that really sets the tone for the brutality of the kills in this movie. Of course, when the bodies start piling up, Gale Weathers (Courtney Cox) comes sniffing, this time clearly to support her friend rather than for a story as her “contract didn’t get renewed on her tv show” and the usual Scream hijinx begin from there. The less you know about the story from this point on, the better.
It is difficult to pinpoint exactly who will love or not love this film. Gen Z has fallen in love with their version of Scream through 5 and 6, while Millennials like me are devotees of the original films, centred on Sidney Prescott and the small-town killer narrative. This firmly plants itself in millennial nostalgic territory, and while the younger Gen Z may struggle with that, it feels exactly what is needed to keep this franchise feeling fresh. Scream 5 and 6 leaned way too much into the meta side of the series, the mystery, the kills and the core just felt lacking. By utilising the original screenwriter and putting him in the director’s chair, Williamson has found the balance of keeping it at the core of what the series is while also being nostalgic and meta. Horror has had a killer few years with massive hits like Sinners, Weapons, Final Destination: Bloodlines (a franchise that was also around at the same time that Scream originally came out) Williamson keeps Scream 7 in line with these by keeping the kills fresh and the audience firmly on the edge of their seat, guessing who the killer is right up until the very last second.
Campbell is solid in this version of Sidney and where she is in this moment in her life. Planted firmly in small-town family domesticity, Sidney is still prepared for anything, but also aware that her daughter’s 17th birthday will raise many questions about her past, something they don’t really talk about. Cox is still unflappable as Gail Weathers, and the inclusion of the lasting effects of the brutal attack on her in New York from the previous film is a nice touch. Speaking of Scream 6, there are a few jabs and one-liners made at Sidney for not being in the previous film. The first two are funny and pointed, but the next two times it happened, it just felt like overkill. May is perfectly fine in the role; unfortunately, her character feels a little underserved by the script, and this ultimately drags the film down, not by her performance, but by the material itself.
Make no mistake, Scream 7 is going to be divisive. Gen Z fans of the “core four” are probably still too raw from the past film to accept any deviation from their idea of what a Scream movie is, and fans of the originals may find this too deeply rooted in fan service and nostalgia. I found myself appreciating the story for going back to what makes a Scream movie great: a series of small-town murders, some meta humour and reflection, and Sidney and Gail saving the day. Scream 7 offers this in a near-perfect package, and Williamson successfully steers the franchise in a new direction. Campbell offers up one of her best performances as Sidney Prescott, one we hope to see continue in future sequels.
