REVIEW: Scream (2022)

Do you like scary movies? Because Hollywood does, and they've got the franchises to prove it. Scream has always been a series built on a real love for slasher films. The films may be sly, satirical and self-aware, but there's always been a good natured meta-tinged fun to Scream, and with this fifth entry helmed by the directors of modern-horror classic Ready or Not, that's very much still the case. The following review will be entirely spoiler free, at least as far as the reveals and the kills go, but I will be discussing some of the broader themes and ideas that this film is commenting on, so consider yourself warned if you've yet to return to Woodsboro

The first thing to know about Scream 5 is that it's a legasequel, softly rebooting the franchise with a lot of new faces, while still keeping them connecting to the original characters and bringing back a murderer's row of fan-favourites before following this mix of old and new players as they try to survive a whole new wave of Ghostface killings. The film leans into the meta-fun right from the start with an impressive opening that retraces the original's steps before thrillingly subverting it in a way that blends the familiar with some new spins on old ideas. Get used to that, because it's really the bulk of this film, and for that reason, it's a movie that really plays to the fanbase. Maybe that's an obvious thing to say about the fifth entry of a beloved franchise but Scream 5 is so packed to the gills with references to the previous 4 that anyone who's had a passing interest in any of these films will find something to enjoy. Most of these are throwaway nods or tie into the idea of legacy reboots but even the core components that bring back older ideas really feels like its directly addressing anyone who has even the most remote connection with this franchise

The new additions here are strong across the board. The turns from the younger cast-especially Jenna Ortega, Jack Quaid and Jasmin Savoy Brown- are properly exciting, and the way the film leans into the idea of the killer targeting legacy characters is a nice touch. As for the older faces, they're fairly well integrated for the most part too. David Arquette is maybe the best he's ever been in these films, while Courtney Cox holds back a little in her first few scenes before coming back with a bang(s) in the climax. And then there's Neve Campbell. I'm slightly torn on how Sidney is brought back: on one hand, her return to Woodsboro feels a little contrived, but come the climax, it's hard to feel like that's not a deliberate choice on some level given how knowing this film approaches its own legacy. The way both sets of characters handled is even handed and rendered with a lot of love. No one feels shortchanged here, and everyone fits into the wider mystery fairly organically

The film's thrills are constant and effective. I'm not entirely sold on a lot of the commentary on display but the tension is high and the film impresses with some really bold narrative choices that it has the chutzpah to stand by. No neat rugpulls or half-hearted reversals, just a totally unsparing approach to the mortality of its main cast. It's decisions like these that serve as a reminder of how shocking that first film's opening is, and the fact that these films still have teeth after twenty six years is really welcome in a world of late-stage sequels that lose their luster over time. Without spoiling anything, the kills are pleasingly gruesome and enjoyably creative, constantly making use of Scream's trademark weapon: tongue-in cheek irony

Just as previous Screams have taken aim at sequels, trilogies, and reboots, Scream 5 is totally centered around the state of horror in 2022, which means lots of commentary on legacies and notions of elevated genre, and it's here where I think the film sags slightly under the weight of its ideas. Self-awareness has been baked into the series from day one but Scream 5's take on a horror landscape fascinated with legacy sequels and familiar iconography is heavily flawed to say the least. The constant references to Stab are repetitive and really lack variety, making a few strong points early on before really hitting a point of diminishing returns as the film progresses. The film overlabours its point and really retreads a lot of the same ground as the previous entries, which nearly demonstrates a lack of the kind of self-awareness that gave the others-especially Scream 2- a lot more bite. The thrills, chills and kills always deliver but for a franchise that defines itself on its genre-savviness, the most shocking reveal of all is how trite a lot of this feels

Thankfully, all of this is worth it for a climax that is unsparingly critical of toxic fan culture and petty entitlement. It might spend the bulk of its run spinning its satirical wheels, but the last 20 minutes are as sharp and on-point as these movies have ever been, and the whole sequence saves the film as a result. Everything clicks into place with an ending that really understands the rhythms of fan discourse, bringing to mind the contentious reactions to films such as The Last Jedi and kicking a lot of life back into the film in the process. It's a pleasant surprise after such a mixed bag of a second act, and the film ends on a note that is almost as gleefully wicked as Ready or Not's explosive finale

Scream will undoubtedly play better to those who love the previous films, and is unlikely to convert anyone who's been skeptical about the franchise in the past, but the fun scares and killer third act are consistently fun, and really make up for some of the film's more awkward moments of self-reflection. The novelty doesn't fully hold up, but there's enough here to suggest that this franchise still has some fight in it yet, and I'm going to go ahead and give this a 6/10

REVIEW: The Electrical Life of Louis Wain

Will Sharpe has been quietly carving a niche for himself in the world of British television, most recently directing the true crime miniseries Landscapers, and perhaps more notably with Flowers, his tragicomic series that I think perfectly laid out his MO for the kind of stories he tells and the style he does it in. This style is immediately apparent watching The Electrical Life of Louis Wain, a quirky, heartfelt biopic of the titular artist, known for his vast portfolio of colourful cat paintings. It's a niche story for sure, but one that perfectly fits Sharpe's sensibilities and pet themes. Dysfunctional families, tortured artists, individuals struggling to communicate in a world that seems to be moving far too quickly; if it wasn't for the fact that this is a true story, it would be easy to mistake this for a feature-length spin-off of Flowers

And while the film is far more than its eye-watering visuals, it's easily the first thing that stands out here, and it's an aspect of Sharpe's style that I think is only getting stronger with each of his projects. Erik Wilson's cinematography is, appropriately, very painterly in its look and feel, occasionally even blurring the shots to give the impression of watercolours on a canvas. This pairs perfectly with the woozy montages that Sharpe utilised brilliantly in Flowers, and he doubles down on those here, occasionally lapsing into dreamy psychedelia but always staying true to his subject. The film plays its tweeness totally straight, and while that's bound to put some people off, there is something really admirable about how proudly it wears its quirky heart on its sleeve without ever tipping into over cutesy over-sweetness

It's an endearing film for sure, and I think the level of detail that is poured into the style and the idiosyncrasy really helps the film cover up its one key issue, that being how slight most of its ideas of larger themes are. The emotional core is strong and the film completely sells its more heartfelt beats, but most of that kind of falls through when the film really fails to make any larger point about the life it's capturing. It never justifies why it's telling this specific story, and while the amount of detail and love put into the film always keeps it watchable, it ultimately gives in to its lack of anything to say and winds up as a very enjoyable and hugely sincere but frustratingly shallow portrait of the artist as a wounded man

Thankfully, it's able to make it over the line on the backs of its excellent performances. Benedict Cumberbatch is as great as advertised, fresh off of his barnstorming turn in The Power of the Dog. His is a performance full of empathy and sensitivity, bringing each of Wain's tics to life without ever trivialising them or playing them for laughs. Claire Foy is a perfect co-lead, teasing out the film's heart in the first half before haunting the more emotional home stretch. I also thought Andrea Riseborough was fantastic as ever in this, as was Olivia Colman's pointed narration. My favourite aspect of this film however, is the parade of cameos, from the entire main cast of Flowers and a whole host of UK comedians to some slightly more surprising turns that make for some sharp shots of delight, particularly in the third act

It's not a film that makes any larger statement about its story or subject, but The Electrical Life of Louis Wain is consistently delightful, emotionally affecting and totally and utterly sincere in its twee approach. It lacks the edge that makes Sharpe's TV work so effective, but it's a nice tonic to start the year with, so for that reason, I'm going to go ahead and give this a 6/10