scream movie review 1996

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Wes Craven's “Scream” violates one of the oldest rules in moviehistory: It's about characters who go to the movies. They've even heard ofmovie stars. They refer by name to Tom Cruise , Richard Gere , Jamie Lee Curtis.They analyze motivations (“Did Norman Bates have a motive? Did Hannibal Lecterhave a reason for wanting to eat people?”) True, they went to the movies in “TheLast Picture Show” and the heroes of “ Clerks ” worked in a video store. EvenBonnie and Clyde went to the movies. But those movies were about the *act* ofgoing to the movies. “Scream” is about *knowledge* of the movies: Thecharacters in “Scream” are in a horror film, and because they've seen so manyhorror films, they know what to do, and what not to do. “Don't say 'I'll beright back,' “one kid advises a friend, “because whenever anybody says that,he's *never* right back.” In a way, this movie was inevitable. A lot of modernfilm criticism involves “deconstruction” of movie plots. “Deconstruction” is anacademic word. It means saying what everybody knows about the movies in wordsnobody can understand. “Scream” is self-deconstructing; it's like one of thosecans that heats its own soup.

Insteadof leaving it to the audience to anticipate the horror clichés, the characterstalk about them openly. “Horror movies are always about some big-breasted blondwho runs upstairs so the slasher can corner her,” says a character in “Scream.”“I hate it when characters are that stupid.” The movie begins, of course, witha young woman ( Drew Barrymore ) at home alone. She gets a threatening phone callfrom an evil Jack Nicholson sound-alike. She is standing in front of patiodoors with the dark night outside. She goes into a kitchen where there are lotsof big knives around. You know the drill.

Later,we meet another young woman ( Neve Campbell ). Her father has left for theweekend. Her mother was murdered...why, exactly a year ago tomorrow! Herboyfriend climbs in through the window. At high school, rumors of cult killingscirculate. The killer wears a spooky Halloween costume named “Father Death.”There are more phone calls, more attacks. The suspects include the boyfriend,the father, and a lot of other people. A nice touch: The high school principleis The Fonz.

Allof that is the plot. “Scream” is not about the plot. It is about itself. Inother words, it is about characters who *know* they are in a plot. Thesecharacters read Fangoria magazine. They even use movie-style dialogue: “I wasattacked and nearly filleted last night.” The heroine has been rejecting herboyfriend's advances, and just as well: As another character points out,virgins are never victims in horror films. Only bad boys and girls get slashedto pieces. Realizing they're in the midst of a slasher plot, the characters talkabout who could play them: “I see myself as sort of a young Meg Ryan . But withmy luck, I'll get Tori Spelling .” The movie itself, for all of its ironicin-jokes, also functions as a horror film--a bloody and gruesome one, that usesas many clichés as it mocks.

Oneold standby is the scene where someone unexpectedly enters the frame,frightening the heroine, while a sinister musical chord pounds on thesoundtrack. I love these scenes, because (a) the chord carries a message ofdanger, but (b) of course the unexpected new person is always a harmlessfriend, and (c) although we can't see the newcomer because the framing is sotight, in the real world the frightened person would of course be able to seethe newcomer all the time.

Themovie is also knowledgeable about the way TV reporters are portrayed in horrorfilms. The reporter this time, played by Courteney Cox of “ Friends ,” askswonderful questions, such as “How does it feel to almost be the victim of aslasher?” Savvy as she is, she nevertheless suggests to a local deputy thatthey shouldn't drive to an isolated rural setting when it's a nice night towalk down a deserted country road in the dark while a slasher is loose.

Whatdid I think about this movie? As a film critic, I liked it. I liked the in-jokesand the self-aware characters. At the same time, I was aware of the incrediblelevel of gore in this film. It is *really* violent.

Isthe violence defused by the ironic way the film uses it and comments on it? Forme, it was. For some viewers, it will not be, and they will be horrified.

Whichcategory do you fall in? Here's an easy test: When I mentioned Fangoria, didyou know what I was talking about?

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Scream (1996)

Rated R Violence, Gore, Language, Sexuality

100 minutes

Neve Campbell as Sidney

Courteney Cox as Gale Weathers

Jamie Kennedy as Randy

David Arquette as Dewey

Matthew Lillard as Stuart

Drew Barrymore as Casey

• Kevin Williamson

Directed by

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Review: Scream (1996)

Scream (1996).

Directed by: Wes Craven

Premise: The teenagers of a small community are stalked by a killer who taunts his victims over the phone and adheres to the clichés of slasher movies. One young woman (Neve Campbell) fears there might be a connection between the killings and the anniversary of her mother’s death.

What Works: There is a lot to say about Scream as a piece of self-reflexive storytelling and as a defining media artifact of the 1990s. While that’s all important to consider (and I’ll get to that a bit later) the first thing to be said about Scream is that it is an excellent film. Although it is generally categorized as a slasher picture, Scream is actually a hybrid of the slasher genre and the murder mystery. Those genres have been frequently matched; even the original Friday the 13th was, at its core, an Agatha Christie-style whodunit. But few films have matched the primal terror of a slasher picture with the psychological intrigue of a murder mystery as well as Scream . The success of the film is primarily due to the collaboration of filmmaker Wes Craven and screenwriter Kevin Williamson. At this point, Craven was a well-established name in the horror genre, having directed classics like The Last House on the Left , The Hills Have Eyes , and A Nightmare on Elm Street . But since Nightmare , Craven’s output had been inconsistent and he was in need of a hit. In taking on Scream , Craven brought all of his skills to bear on the genre and made a picture that was frightening in a violent and primal way but was also slickly produced. The other major contributor to Scream was writer Kevin Williamson. In much the same way that John Hughes tapped into the youth culture of the 1980s, Williamson presented teenage culture of the 1990s in a way that was authentic and respected the audience’s intelligence. He also crafted a clever and impenetrable murder mystery that spoke to the audience’s experience as moviegoers by invoking the classic scenarios of horror films while acknowledging the clichés. The combined talents of Craven and Williamson are perhaps best observed in the first ten minutes of Scream which is one of the strongest opening sequences of any Hollywood film. In this first scene, the picture alternates between the funny and the frightening in a way that is engrossing and disturbing and sets the tone for what is to come. The use of pop culture references, and especially allusions to other horror films, is one of Scream ’s best known qualities. But looking at the film twenty years later what is most impressive is how restrained the movie is in deploying them. Scream alludes to Halloween , When a Stranger Calls , and Psycho (among others) but those references don’t overwhelm the film the way that they do in some post- Scream movies. Another successful element of Scream is its cast. Like a lot of low budget pictures, slasher films of the 1980s had a reputation for bad acting but Scream featured performers of considerable talent including Neve Campbell, Skeet Ulrich, Matthew Lillard, Jamie Kennedy, Rose McGowan, David Arquette, and Courtney Cox. The cast elevates the movie well beyond what audiences typically expect from a teen horror flick and the credible performances ground the wit and the violence in a recognizable reality that keeps the film frightening. To that end, one element of Scream that was unusual in a horror film, both then and now, is a sense of the lingering trauma of violence. A lot of Hollywood films present violence in a casual way but the murder of Sidney Prescott’s mother, which occurs a year before the events of this movie, haunts the story and gives it an air of grief that allows the film and the characters a lot of depth. And that is key to why the film resonated so powerfully in 1996 and continues to play decades later; Scream takes place at the intersection between cinema and reality in a way that is disturbingly resonant but also entertaining enough to remain fun.

What Doesn’t: All media artifacts are a product of their time but movies about teenagers and adolescent culture are very prone to age. Part of that is to do with the fickle nature of teenage style and the way clothing and slang are specific to a particular decade, fad, and adolescent identity. Teenage culture also tends to be the most impacted by shifting cultural mores and consumer technology. That is very true of Scream (even more so that its sequels) and in 1996 the film’s understanding of teenage culture was what made it hip; twenty years later that quality gives the movie a nostalgic appeal. But beyond the mid-90s teenage dress and pop cultural references, there are some ways in which the technology of 1996 is entwined with the plot and the logic of the film. For viewers who were born after Scream there are a few plot points and lines of dialogue that are confusing. Scream also has a bit of a mixed message about the link between media and violence. The premise of the movie implicitly suggests that the killers—and all of teenage culture—have been warped by media violence. Late in the film we get additional information that suggests that the cause of violence runs deeper but the film’s thematic message is tenuous. That in itself might be the point.

DVD extras: Commentary track, featurettes, interviews, trailers. Bottom Line: Scream was a defining movie of a decade and a generation. But that shouldn’t be allowed to obfuscate that this is also a terrific film. The picture delivers as a slasher story and as a murder mystery and it is highly entertaining while also intelligently dramatizing the link between reality and media.

Episode: #617 (October 23, 2016)

Film Review: ‘Scream’

Director Wes Craven is on familiar turf with his latest thriller, "Scream." The setting is a small town, the protagonists are teens, and there's a psychotic killer on the prowl. But he may have gone to the trough once too often, attempting an uneasy balance of genre convention and sophisticated parody. The pic's chills are top-notch, but its underlying mockish tone won't please die-hard fans.

By Leonard Klady

Leonard Klady

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Director Wes Craven is on familiar turf with his latest thriller, “Scream.” The setting is a small town, the protagonists are teens, and there’s a psychotic killer on the prowl. But he may have gone to the trough once too often, attempting an uneasy balance of genre convention and sophisticated parody. The pic’s chills are top-notch, but its underlying mockish tone won’t please die-hard fans. That adds up to no more than modest commercial returns and fast theatrical playoff.

Next on the unknown maniac’s list is Sidney Prescott (Neve Campbell), whose mother was murdered by a similar-style fiend a year earlier. In fact, aggressive tab TV reporter Gale Weathers (Courteney Cox) believes it’s the same killer and that the man (currently on death row) fingered by Sidney for her mom’s murder is innocent.

Craven and scripter Kevin Williamson have worked hard to gussy up well-trod territory. And though the material is more intelligent than the norm and has an unusual third-act twist, it also employs some very clunky stereotypes.

The fictional community of Woodsboro, Calif., is normally a sleepy hamlet populated by callous teens and ineffectual adults. The kids have been shaped by the movies and can quote chapter and verse from Craven’s “Nightmare on Elm Street,” “Halloween” and “Prom Night” to explain the killer’s gestalt. The rules of movie horror — as delineated by a vid-store employee — make Billy (Skeet Ulrich), Sidney’s boyfriend, a prime suspect and also provide a long list of candidates for the potential-victims roster.

Craven, in this film and his prior “New Nightmare,” displays a fascination with blurring the lines between reality and film. “Nightmare” imagined a world where Freddy Krueger could be willed into being. “Scream” merely ponders copycat murders, something that occurs more often onscreen than in dozing towns.

There’s no question that the filmmaker knows how to put an audience on the edge of its seat. But this yarn isn’t content with visceral delight, and its attempts to instill irony and social perspective just slow down the proceedings.

“Scream” is an interesting stab at altering the shape of horror. But it’s one experiment that needed more lab time before venturing into the marketplace.

• Production: A Miramax release of a Dimension Films presentation of a Woods Entertainment production. Produced by Cary Woods, Cathy Konrad. Executive producers, Bob Weinstein, Harvey Weinstein, Marianne Maddalena. Co-executive producer, Stuart M. Besser. Co-producer, Dixie J. Capp. Directed by Wes Craven. Screenplay, Kevin Williamson.
• Crew: Camera (Consolidated color, Panavision widescreen), Mark Irwin; editor, Patrick Lussier; music, Marco Beltrami; production design, Bruca Alan Miller; art direction, David Lubin; special makeup effects, Robert Kurtzman, Greg Nicotero, Howard Berger; sound (Dolby), Richard Goodman; assistant director, Nicholas Mastandrea; casting, Lisa Beach. Reviewed at the Aidikoff Screening Room, Beverly Hills, Dec. 7, 1996. MPAA Rating: R. Running time: 110 MIN.
• With: Sidney Prescott - Neve Campbell Deputy Dewey Riley - David Arquette Gale Weathers - Courteney Cox Stuart - Matthew Lillard Billy Loomis - Skeet Ulrich Tatum Riley - Rose McGowan Casey Becker - Drew Barrymore Randy - Jamie Kennedy Principal Himbry - Henry Winkler Neal Prescott - Lawrence Hecht Cotton Weary - Liev Schreiber Kenny - W. Earl Brown

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Scream Movie Review: A Classic Horror Film with Clever Meta-Humor and Suspenseful Editing

Scream (1996) is directed by wes craven and stars neve campbell, courteney cox and skeet ulrich.

Scream is a classic horror movie that continues to captivate audiences to this day. Directed by Wes Craven and released in 1996, this film has spawned several sequels and reboots, cementing its place in horror movie history.

The movie is about a group of teenagers in the small town of Woodsboro, who become the targets of a masked killer known as Ghostface who terrorizes and murders them one by one. The killer taunts the group with phone calls and pop culture references while he hunts them down. As the body count rises, the group tries to uncover the identity of the killer before it’s too late.

Meta-narrative and humor in Scream are what make the movie stand out from other horror films. The film’s characters are aware of the horror movie cliches and subvert them in a way that is both funny and terrifying.

Throughout the film, characters frequently reference classic horror films like Halloween and Friday the 13th , but in a way that is self-aware and tongue-in-cheek. This meta-narrative is used to great effect, as it allows the film to poke fun at the very genre it’s a part of while also delivering genuine scares.

One of the most memorable scenes in the film is when the killer calls the protagonist, Sidney Prescott, and quizzes her on horror movie trivia. The scene is both suspenseful and funny, as the killer uses their knowledge of horror tropes to taunt and terrify Sidney.

The film also uses humor to break the tension and lighten the mood. Characters like Deputy Dewey, played by David Arquette , provide comic relief with their bumbling and comedic personalities. This humor is used to great effect, providing the audience with a much-needed break from the tension and suspense.

The performances in Scream are one of the film’s strongest aspects, with each actor bringing a unique and believable portrayal of their character. The cast is led by Neve Campbell , who plays the protagonist Sidney Prescott with a sense of vulnerability and strength. Sidney is a high school student who is targeted by the killer and must use her wits and courage to survive.

Another standout performance in the film is delivered by Courteney Cox , who plays Gale Weathers, a ruthless reporter who is determined to uncover the truth about the murders. Cox brings a sense of intensity and drive to her role, making her a memorable and complex character.

David Arquette delivers a comedic and memorable performance as Deputy Dewey, who serves as both comic relief and a source of genuine tension. Dewey is a small-town cop who becomes involved in the investigation of the murders, and Arquette’s performance brings a sense of earnestness and likability to the character.

The supporting cast, which includes actors like Skeet Ulrich , Matthew Lillard , and Rose McGowan , also delivers strong and believable performances. Each actor brings a unique and memorable portrayal of their character, making them all stand out in their own way.

The direction and cinematography in Scream are masterful, creating a sense of tension and suspense that keeps the audience on the edge of their seat. The film is directed by horror veteran Wes Craven, who brings a wealth of experience and knowledge to the project.

One of the most impressive aspects of the direction in Scream is the way that Craven builds tension and suspense throughout the film. The pacing is expertly handled, with the film’s tension gradually increasing as the plot unfolds. Craven uses a variety of techniques, including jump scares, suspenseful music, and clever camera angles, to keep the audience on their toes.

The film’s cinematography is equally impressive, with the camera work adding to the film’s suspense and tension. The film is shot in a way that creates a sense of claustrophobia and unease, with the camera often placed in tight spaces and using angles that create a sense of disorientation. This style of cinematography adds to the film’s overall atmosphere, making it feel like the audience is right in the middle of the action.

Another impressive aspect of the direction in Scream is the way that Craven uses the film’s setting to create a sense of isolation and vulnerability. The film takes place in a small town, which adds to the sense of claustrophobia and helps to isolate the characters. This setting creates a sense of vulnerability that makes the audience feel like they are in danger alongside the characters.

When Scream was released in 1996, the horror genre was in a bit of a slump, with many horror movies relying on tired tropes and cliches. This movie came along and subverted those cliches, offering a self-aware and tongue-in-cheek take on the horror genre. The film’s meta-narrative and clever writing made it a hit with audiences, and it helped to reignite interest in horror movies.

Reviews for Scream Movies

One of the ways that Scream redefined the horror genre was by introducing a new level of violence and gore. The film’s opening scene, which features Drew Barrymore being terrorized and killed by the film’s masked killer, is incredibly intense and graphic. The film’s violence was a departure from the more tame horror movies of the past, and it helped to usher in a new era of more intense and visceral horror movies.

Another important aspect of Scream is the way that it embraced new technology and modernized the horror genre. The film features characters using cell phones and the internet to communicate, which was a relatively new concept at the time. This use of technology helped to modernize the horror genre and make it more relevant to younger audiences.

Finally, Scream helped to launch the careers of several actors, including Neve Campbell and Rose McGowan. The film’s success also led to several sequels and imitators, cementing its place in horror movie history.

Overall, Scream is an incredibly important film in horror movie history. It helped to redefine the genre and set the stage for a new wave of more violent, self-aware horror movies. The film’s impact can still be felt today, and it remains a must-watch for horror movie fans.

Genre: Comedy , Horror

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Scream Film Cast and Credits

Neve Campbell as Sidney Prescott

Courteney Cox as Gale Weathers

Skeet Ulrich as Billy Loomis

Matthew Lillard as Stu Macher

David Arquette as Dewey Riley

Jamie Kennedy as Randy Meeks

Rose McGowan as Tatum Riley

Liev Schreiber as Cotton Weary

Drew Barrymore as Casey Becker

Director: Wes Craven

Writer: Kevin Williamson

Cinematography: Mark Irwin

Editor: Patrick Lussier

Composer: Marco Beltrami

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Scream (1996) Review

Scream still stands tall as a milestone horror film and as a reminder of how clever and rewarding movies can be when written with supreme, genre-loving skill and directed with total finesse.

I can remember seeing this film on opening weekend back in 1996 with some high school buddies, and we were probably the only ones in the theater.

It’s completely insane to look back at the box office stats for Scream, and you just have to chuckle – this future juggernaut opened to around $7 million, and then did $7-10 million for the next 6 weeks.

It became a true word of mouth sensation that somehow caught a wave and tapped into the zeitgeist – it was something you HAD to see, regardless of your age, or your interest in the genre.

Wes Craven was never my favorite filmmaker, as the horror genre has been the one to excite me the least overall, but I’m not blind to his extreme abilities as a craftsman, and it goes without saying, he was an iconic figure in the cinematic landscape.

And he certainly made his fair share of great films: The Serpent and The Rainbow, Wes Craven’s New Nightmare, The Hills Have Eyes, A Nightmare on Elm Street, The Last House on the Left — these are all enduring pieces of cinema.

It’s also apparent I need to see The Fireworks Woman and revisit Shocker. But it’s Scream that I’ll always remember him for.

The film is viciously bloody and nasty, yet remarkably somehow still playful, and it’s incredibly funny, almost non-stop to be honest, with pop-culture jokes and sly references that were totally in-the-moment over 20 years ago yet still work and zing today.

Kevin Williamson’s genre-busting work was just beginning and when you look back at his original script you can sense that he was seriously zoned into this milieu.

There’s not a bad performance in the entire cast, with Neve Campbell easily joining the ranks of premiere cinematic scream-queens, David Arquette using charmingly goofy comedy to lighten the load, and Courtney Cox doing a delicious hot-bitch performance that still cuts to this day.

Matthew Lillard was insane in this movie; ditto Jamie Kennedy.

The plotting is terrific, the twists are novel, the dialogue is as sharp as Ghost Face’s knife, and the killing-off of Drew Barrymore in the opening reel still stands as one of the best surprises in movie history.

I’m even a fan of the sequels (though still not seen Scream 4) which got increasingly over the top as they went along but still found time to comment on the self-reflexivity of horror filmmaking and audience expectations.

SPECIAL NOTE: It’s too bad, though, that this entire series is forever tainted by being a Dimension production – seriously – F**K those guys.

It’s getting increasingly harder and harder to separate life from art in ways that I’m not sure anyone was ever prepared to do.

I wake up every morning and immediately think: Who is today’s Hollywood sex criminal?

Review by Nick Clement

A milestone horror film and as a reminder of how clever and rewarding movies can be when written with supreme, genre-loving skill and directed with total finesse.

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Nick Clement

Nick Clement is a freelance writer, having contributed to Variety Magazine, Hollywood- Elsewhere, Awards Daily, Back to the Movies (of course), and Taste of Cinema.

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Wes Craven shocked the slasher genre back to life with this meta-heavy horror classic

by John Sciacca October 26, 2021

The teen-slasher genre had been stagnating in the ‘90s when along came Wes Craven of Freddy Krueger and A Nightmare on Elm Street fame to totally upend and breathe new life into the genre with S cream . It’s hard to believe Scream is celebrating its 25th anniversary but the good news is that Paramount has given it a 4K HDR transfer. 

  While Scream certainly has its share of gore, it never feels like the focus of the story. Right from the get-go, it lets you know this was going to be a different horror-movie experience, and in the opening 12 minutes,   it unsettled the audience by killing off its biggest star, Drew Barrymore. Of course, Craven just aped what Alfred Hitchcock famously did with Janet Leigh in Psycho .  

The script was also unique in just how self-aware the characters were. They not only love horror movies but the cast frequently name-checks other horror films. They also lay out—and then the film plays with—the classic slasher-film “rules” and clichés about who survives. And as the ultimate wink-nod to horror fans, Craven himself has a cameo as a striped-sweater-wearing school janitor who happens to be named Fred. Red herrings and misdirection abound throughout, and after the shock of Barrymore’s death, viewers knew anyone could be killed—all of which told moviegoers they were in for a new and different ride, and the traditional rules of the genre were out the window.

It was interesting to re-watch Scream knowing the outcome, much like people will go back through The Sixth Sense to see if M. Night Shyamalan made any continuity mistakes. Here, when you know what—and who—to look for, there are some subtle clues that tell you who the killer is that give the film another layer of enjoyment.

Originally shot on 35mm film, this transfer is from a 4K digital intermediate, and the clarity and detail show. Of course, as with many film-to-4K transfers, there are some moments of softness or uneven focus but these are likely in the original and the movie still has that organic film look. What I really appreciate with a well-done transfer is just how clean images look. Fortunately, much of Scream— particularly the opening—is filmed up close, letting you really see the texture and detail in the actors’ faces—the smooth skin and fine whiskers, Sidney’s freckles, and the detail in Barrymore’s sweater and the fine strands of her hair.  

Don’t expect a lot of eye-popping HDR but the grade definitely enhances the natural look of the film with nice deep blacks and shadow detail. Also, much of the second half is shot at night, and things like bright car headlights, police lights, fluorescent lighting, lightning strikes, and bright white T-shirts get some added pop, as do subtle things like the glints of highlights from droplets of sweat or tears on actors’ cheeks. I also noticed the subtle sparkle and flecks of silver in the killer’s black outfit. Nothing really pushes the bounds of HDR’s wider color gamut but we get some really nice and vibrant yellows, oranges, and reds in a sunset, along with the rich blue of Sidney’s denim, and of course the intense reds of blood.

The Kaleidescape download features a 5.1-channel DTS-HD Master Audio mix. The dialogue is always presented nice and clear in the center channel. Sounds like ringing phones, ticking clocks, and creaking floors happen way off screen, expanding the width of your listening area. My processor’s DTS: Neural X upmixer was also able to extract some nice ambience from the mix. Small sounds like clocks and wind chimes, echoes, wind whistling through an HVAC register, or PA announcements fill the room and immerse you in what’s happening on screen. Parts of the score are also “lifted” up to the ceiling speakers to add a nice height layer.  

The mix isn’t super dynamic but it can deliver some strong, even tactile, bass, such as during a big lightning storm in the opening. And while there isn’t a lot of gunfire, the few instances are recorded loud and sharp and are definitely standout moments.  

While some of the dialogue between the “teenagers” (Campbell and McGowen were 23, and Ulrich and Matthew Lillard were both 26) is a little cringey, most of Scream holds up surprisingly well and it’s still a lot of fun to watch. The timing is also a bit serendipitous as rewatching this new transfer of the 1996 original will help set the mood for the Scream  reboot   coming in January 2022, which brings back the big surviving three—Sidney, Gale Weathers, and Deputy Dewey—from the original film.

Probably the most experienced writer on custom installation in the industry,  John Sciacca  is  co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina , & is known for his writing for such publications as  Residential Systems  and  Sound & Vision. Follow him on Twitter at @SciaccaTweets and at  johnsciacca.com .

PICTURE | As with many 35mm-film-to-4K transfers, there are some moments of softness or uneven focus, but these are likely in the original film, and Scream still has that organic film look.

SOUND | The 5.1-channel DTS-HD Master Audio mix is certainly adequate for telling the story, and the most important element—the dialogue—is always presented nice and clear in the center channel

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Scream (United States, 1996)

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs. That's because director Wes Craven ( A Nightmare on Elm Street ), in addition to having a genuine affection for the genre, understands how wildly improbable and easy to lampoon it is. And, with Scream , he skewers it at every corner, using self-referential humor and a flood of in-jokes (some subtle, some obvious).

The list of movies mentioned or satirized is amazingly long, and features everything from the 1931 Universal classic, Frankenstein , to Tom Cruise's All the Right Moves ("if you pause [the video] at the right place, you can see his penis"). Craven, never one to take himself too seriously, pokes fun at his own reputation and his movies, at one point calling himself "Wes Carpenter" (an allusion to the numerous people who confuse him with director John Carpenter). References to Carpenter's original Halloween abound; several minutes of footage from that film are used here in a uniquely effective manner.

Scream opens with a 12-minute prologue that introduces us to Casey (Drew Barrymore), an all-American girl who's popping popcorn in preparation for watching a video. The phone rings, and there's a mysterious voice on the other end. He asks her what her favorite scary movie is, and she replies that it's Halloween . He then invites her to play a game, but she gets freaked out and hangs up. When he calls again and she demands to know what he wants, his response is simple and succinct: "To see your insides." The cat-and-mouse game continues until both Casey and her boyfriend (who has the misfortune to stop by) are gutted like fish.

This double murder is only the beginning, however. It appears that the killer's real target is Sidney Prescott (Neve Campbell, from TV's Party of Five ), a high school girl with a troubled past. One year ago, Sidney's mother was raped and murdered in a highly-publicized case. Now, when Sidney is attacked by someone wearing a Grim Reaper mask and her boyfriend, Billy (Skeet Ulrich), is arrested, her life is turned upside down. From the bathrooms at school to a friend's house, the stalking continues. Meanwhile, an aggressive tabloid reporter (Courteney Cox) begins harassing Sidney for a story.

Scream never stops poking fun at itself. Craven and screenwriter Kevin Williamson allow their characters to make all sorts of disparaging remarks about the horror movie cliches they're living (and dying) through. In describing why she doesn't like slasher flicks, Sidney claims that "they're all the same… Some big-breasted blond who can't act" does stupid things. Another character, a video junkie (Jamie Kennedy), describes all the gory, real-life events as "standard, horror movie stuff… There's a formula to it -- a very simple formula." Then, as a group gathers to watch Halloween on TV, this same guy recites the three rules of surviving a horror movie: never have sex, never drink or do drugs, and never say "I'll be right back."

The most obvious and inventive parody in Scream involves a direct takeoff of the killer- stalking-Jamie Lee Curtis-through-the-house sequence from Halloween . While that scene is playing on a TV, similar events are happening in the very room where the TV sits. In fact, as Michael Myers is approaching Curtis' character from behind, the death-masked killer is sneaking up on the guy watching the video, who is screaming at the TV, "Look behind you!" Since he's so knowledgeable about the genre, he should consider heeding his own advice.

The director doesn't do everything right. The film's self-parody aspects are sometimes too cute, and there are occasions when they dilute attempts at shocks and suspense. There are also a few too many twists and turns in the script, and the ending is unnecessarily protracted. In general, Scream probably could have benefited from a little more tightening up during either the scripting or the editing stage.

Some of the casting choices are unusual. Most of the major roles go to fresh faces. Neve Campbell, who doesn't have much feature experience, finds the right tone for her character, allowing Sidney to be a little tougher than the typical damsel in distress. Courtney Cox, on the other hand, is never believable as the tough-as-nails, career-obsessed reporter. Drew Barrymore and Henry Winkler (a.k.a. The Fonz, as a high school principal) have cameos (Winkler's is uncredited).

Craven couldn't have made this movie if he didn't understand both his craft and what his fans expect. Of all the mainstream horror directors, he has been the one most willing to take chances. In some ways, Scream is an extension of Wes Craven's New Nightmare , which also blurred the lines between motion pictures and real life. This is a horror film designed with movie-lovers in mind. Beneath all the gore and violence (and there's a lot of both), there's a keen sense of wit and intelligence which sophisticated viewers are likely to appreciate. And that makes this much more than a common slasher flick. Have fun, and remember that "movies don't create psychos; movies make psychos more creative."

Comments Add Comment

• Halloween (1978)
• Frankenstein (1931)
• Blair Witch Project, The (1999)
• Plan 9 from Outer Space (1959)
• Captivity (2007)
• Halloween 6: The Curse of Michael Myers (1995)
• Scream 2 (1997)
• (There are no more better movies of Neve Campbell)
• Scream 3 (2000)
• Scream 4 (2011)
• Skyscraper (2018)
• Grindhouse (2007)
• (There are no more better movies of Rose McGowan)
• Conan the Barbarian (2011)
• Jawbreaker (1999)
• (There are no more worst movies of Rose McGowan)
• Ride with the Devil (1999)
• As Good as It Gets (1997)
• (There are no more better movies of Skeet Ulrich)
• Scream (2022)
• (There are no more worst movies of Skeet Ulrich)

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Common sense media reviewers.

Teen slasher parody has strong violence and language.

A Lot or a Little?

What you will—and won't—find in this movie.

Movies don't make killers, "they just make them mo

Most of the teen characters act hedonistically and

Playing on clichés of the genre, cast members are

Teens are terrorized over the phone and verbally a

Teen characters speak frankly about sex, nudity, v

Frequent profanity, including "f--k" many times. A

References to other horror movies. Jiffy Pop popco

Underage drinking at a teen party, and characters

Parents need to know that Scream is a 1996 teen slasher movie ​​that parodies the horror genre. It's self-aware, with constant references to other films -- When a Stranger Calls, Friday the 13th, Halloween , and The Silence of the Lambs, to name a few -- and the rules and stereotypes they're…

Positive Messages

Movies don't make killers, "they just make them more creative." Things aren't always as they seem, so be careful about who you trust.

Positive Role Models

Most of the teen characters act hedonistically and display little regard for others' lives and feelings. But Sidney is more empathetic and respectful and also shows great intelligence and bravery, though she does engage in underage drinking and sex, as well as violent acts -- albeit often in self-defense.

Diverse Representations

Playing on clichés of the genre, cast members are conventionally attractive, White, and live in suburban neighborhoods. Sexism is portrayed -- and actively called out by characters. A character is referred to as being overweight and told to move their "fat, tub-of-lard ass," which models fat-phobic treatment of others. However, main character is female and portrayed as strong, intelligent, capable, yet also kind and empathetic.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Teens are terrorized over the phone and verbally and physically threatened. Characters are knocked unconscious and murdered, with dead bodies and bloody injuries shown. Savage multiple stabbings, throats slit, close-range shootings, lots of hand-to-hand fights with the killer, including strangling and hitting with objects. One character has their neck broken by a rising garage door, one is electrocuted by a toppled TV set, another falls from a roof but is unharmed. A mother's death is mentioned, as are references to rape, torture, murder, suicide, and capital punishment. Characters are found disemboweled, tied to a chair, hanging from a tree. Talk of eyes gouged out, fingers cut off, teeth knocked out. Character hooked up to medical drips in ambulance. Non-fatal car accident. Kitchen fire. Jump scares.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Teen characters speak frankly about sex, nudity, virginity, promiscuity, and affairs. Kissing, touching over clothes. A character removes her bra, though breasts aren't shown. Sex is implied but not acted out on-screen, with characters dressing after the event. Phone-sex joke.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent profanity, including "f--k" many times. Also "motherf--king," "f--ker," "s--t," "bulls--t," "s--thead," "a--hole," "pr--k," "d--k," "t-ts," "bitch," "pissed," "ass," "bastard," "whore," "goddamn," "Jesus," "cretin," "dips--t," and "slut bag."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

References to other horror movies. Jiffy Pop popcorn prominently shown in crucial scene. Corn Chex box, Dunkin' Donuts packaging also seen.

Drinking, Drugs & Smoking

Underage drinking at a teen party, and characters drive dangerously under the influence. Another character is referred to as drunk enough to be framed for a killing. Cigarette smoking by an adult character.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Scream is a 1996 teen slasher movie ​​that parodies the horror genre. It's self-aware, with constant references to other films -- When a Stranger Calls , Friday the 13th , Halloween , and The Silence of the Lambs , to name a few -- and the rules and stereotypes they're built upon. The movie's lack of diversity reflects this, with all the characters being White, conventionally attractive, and suburban. Frequent violence includes multiple stabbings, shootings, and characters shown disemboweled. Bloody injuries are seen, and there are references to rape, torture, and suicide. Sex is implied, though only kissing and over-the-clothes touching are shown on-screen. Frequent strong language includes "f--k," "s--t," and sexist terms such as "slut" and "whore." Underage drinking and driving under the influence are shown, and an adult character smokes cigarettes. Teens generally behave in a blasé, hedonistic way, though main character Sidney is smart, empathetic, and courageous. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (71)
• Kids say (371)

Based on 71 parent reviews

Self aware, entertaining horror/comedy flick has gruesome images and violence

I would say it’s pg-13, what's the story.

In SCREAM, the small town of Woodsboro, California, is shaken by the gory killings of two teens almost a year to the day after a woman was similarly murdered. When the victim's daughter, Sidney Prescott ( Neve Campbell ), starts getting threatening phone calls from the "Ghostface Killer" who wants to use horror movie rules to play a deadly game, horrific memories are stirred, and she's forced to face her past and the killer head-on. With the town in chaos, its teen inhabitants celebrate the media circus -- led by fame-hungry reporter Gale Weather ( Courtney Cox ) -- by throwing movie viewing parties and dressing as the murderer, making it easy for them to be picked off one by one. Can Sidney identify the killer and figure out their motive before she falls victim to the same tragic fate as her mother? She'll need to keep her wits, and her horror movie knowledge, at hand.

Is It Any Good?

The film made a huge impact upon its release in 1996, cleverly playing on the horror genre rules in a way that felt smart and fresh. Directed by horror icon Wes Craven ( A Nightmare on Elm Street ) and written by Kevin Williamson (who went on to create the likes of The Faculty and Dawson's Creek ), Scream brought a sharper level of intelligence, production values, and acting talent to the teen slashers that exploded in ticket sales almost 20 years earlier. The result was a hit that appealed to aficionados with its in-jokes and array of movie references and to audiences just looking for a fun teen slasher with a few good scares and a modern twist. Here, the media-savvy characters are hungry for real-life drama yet desensitized to its outcome -- a theme that runs throughout the Scream franchise.

It's a testament to the original that Scream has continued to make itself relevant to new audiences, with four more films released over the following 25 years, continuing to attract big names like Drew Barrymore , Luke Wilson , Sarah Michelle Gellar , Kristen Bell , David Schwimmer , and Laurie Metcalf . But don't be lulled by the star power and satire: The violence here is brutal, intense, and gory. Though the thrilling pace, high school drama, and steady jolts will likely keep young audiences watching, this movie is best for older teens and adults.

Talk to Your Kids About ...

Families can talk about why Scream remains so popular. What's the appeal of horror movies?

The movie seems to both parody and celebrate the "teen slasher" movie genre. How does it use humor to poke fun at horror movie clichés, and how does the violence make it a part of the very genre it parodies?

How are teens portrayed here? Is this a realistic depiction? Why, or why not?

Movie Details

• In theaters : December 20, 1996
• On DVD or streaming : December 8, 1998
• Cast : David Arquette , Jamie Kennedy , Neve Campbell
• Director : Wes Craven
• Inclusion Information : Female actors
• Studio : Dimension
• Genre : Horror
• Run time : 111 minutes
• MPAA rating : R
• MPAA explanation : violence, profanity, sex, mature themes
• Last updated : February 9, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The Sixth Sense

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Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

The Definitives

Critical essays, histories, and appreciations of great films

Essay by Brian Eggert September 12, 2023

Wes Craven’s Scream opens with a scene greater than the remainder of the film, even the remainder of the franchise. A phone rings. Drew Barrymore, playing the teen Casey, answers. Sorry, wrong number. A shot outside establishes an isolated house, with no help for miles. Home alone and roasting popcorn for movie night, Casey then receives a series of calls from a gravelly male voice. “Do you like scary movies?” he asks. She does. But when the voice becomes too creepy, even threatening, she hangs up. The calls continue, and Casey’s fear brings her to tears. Finally, she asks what the voice wants. “To see your insides,” he replies. Deathly afraid now, Casey responds to the phone’s persistent ringing with a surge of terror. She answers again, and the voice says he wants to play a game, then proceeds to quiz Casey on horror movie trivia. When she incorrectly responds to a question about Friday the 13th (1980), it leads to her boyfriend’s ghastly murder on the patio outside. Casey, too, meets her demise when a masked figure bursts into the house, chases her into the yard, and disembowels her within earshot of her parents, who have just arrived home. After several sequels, including years of repetitive plotting and increasingly elaborate backstory piled onto the Scream franchise, this bravura first scene still leaves audiences gasping for air. Along with the shower scene from Psycho (1960), it belongs on a shortlist of iconic and timeless sequences that transcend the films they inhabit.   

Scream ’s opener embodies how Craven and screenwriter Kevin Williamson took a knife to the slasher subgenre’s guts and dissected its insides. Horror movies would never be the same. Following the 1980s slasher heyday and its gradual decline by the early 1990s, the film at once deconstructs and embraces its formulas through in-jokes and self-reflexivity. The schema is a brilliant one, as the writer and director reinvent the material by adhering to the template they seek to anatomize. Indeed, Scream is more than just a horror movie; it’s also a genuinely keeps-you-guessing whodunit, a self-aware comedy, and a meta-commentary on slasher movies. Although the film wasn’t the first—or even Craven’s first—to explore horror through a postmodern lens, its popularity in 1996 and beyond launched one of the most successful horror franchises in film history. Regardless of what came afterward, the original’s influence on horror at large remains undeniable as a launchpad for the genre’s strain of self-referentiality. But often overlooked in discussions of Scream ’s legacy is the harmonious marriage of Williamson’s script and Craven’s authorial perspective, which crystallizes themes present throughout Craven’s work: his tendency to start with conventional situations and build upon them; his standard use of unreliable authority figures; and more prominently, his lasting interest in the division between reality and dreams. In Scream ’s case, movies supply an alternative to reality, and the film’s characters exist both within the movies and outside them.      

Williamson’s screenplay prompted a bidding war among Hollywood studios. Oliver Stone’s production company wanted the movie; so did Morgan Creek, Paramount, and Universal. But it was Bob Weinstein’s offer from Dimension Films that appealed to Williamson the most, scoring him $500,000, an agreement to write two more features, and a chance to direct. The screenwriter would later claim that he had already planned the first two sequels, complete with treatments for both; though, that claim has been disputed and may be self-mythologizing by the writer. As for a director of the newly retitled Scream , Miramax turned to Craven, who had been developing a remake for the studio of Robert Wise’s The Haunting (1963), based on Shirley Jackson’s novel, before they put the project into turnaround (it was later produced, disastrously so, by DreamWorks under the helm of Jan de Bont). However, Williamson’s script didn’t convince Craven initially. Since making his directorial debut with The Last House on the Left in 1972, Craven had yearned to place some distance between himself and the horror genre. Even though horror provided him with consistent work over the years, he wanted to expand his reach into other material. The director maintained this push-and-pull relationship with horror for most of his career. 

Craven became a horror director somewhat by sheer happenstance. He grew up in a strict Evangelical Baptist household that barred him from watching any movies, apart from those released by Disney. This background left him rather sheltered until he studied English at Wheaton College, followed by graduate studies in writing and philosophy at Johns Hopkins University, where he peripherally learned about films and filmmaking. He taught for a short time, but he wasn’t interested in doctoral studies or academic life. On a whim, he purchased a 16 mm camera and began experimenting. Increasingly interested in filmmaking, Craven soon dropped teaching for a lowly position at a post-production house operated by a friend. There, he learned the technical side of making industrial films, such as sound and film editing. He even worked on assembling a number of pornographic movies, among them Deep Throat (1972), under assumed names, often alongside friend Sean S. Cunningham (director of Friday the 13th ). After working with Cunningham on a few cheap skin flicks for American International Pictures, the company offered them a small budget to make a horror film, which could be made inexpensively and easily turn a profit. The result, The Last House on the Left (1972), burned itself onto the brain of moviegoers and critics with its docu-style scenes of exploitative violence and rape, which, Craven later claimed, intended to confront audiences with the reality of violence in the Vietnam War. 

At the time Scream was offered to him, the director was finishing work on Vampire in Brooklyn (1995), a commercial and creative disaster that found Craven trying to strike a balance between horror and comedy, with no help from producer and star Eddie Murphy, who couldn’t decide what kind of vampire film it should be: funny or scary. Although Craven passed on Williamson’s script initially because he felt the material was too “extreme,” and too much of a pop-culture commentary that bordered on satire, his assistant Julie Plec, director of development Lisa Harrison, and longtime editor Patrick Lussier convinced him that the script could be scary. The exact reasons for Craven’s change of mind vary by account. Plec claims the Weinsteins offered an impossible-to-pass-up payday. Other accounts suggest he only seriously considered the material after the bidding war and Drew Barrymore’s subsequent casting, which implied that people saw something special in the material, so he shouldn’t pass it up. Production designer Bruce Alan Miller observed that Craven came to see the script less as a horror movie than a murder mystery, which appealed to him. At the time, Craven claimed he resolved to make Scream as a swan song to his horror career, not realizing that he would make three more entries in the franchise—not to mention several other horror movies, including Cursed (2005) and My Soul to Take (2009)—in the years to follow.   

Whatever his reasons, Craven signed on and, despite his initial hesitance, made a film that aligns with his directorial obsessions. For a script authored by Williamson, Scream occupies many themes evident in Craven’s body of work. Even Williamson’s signature meta dialogue and self-reflexive commentaries on the horror genre—present in Williamson’s later scripts for The Faculty (1998) and Cursed —had been anticipated by Craven’s earlier work. Just two years before Scream arrived in theaters, Wes Craven’s New Nightmare (1994) deconstructed the franchise that began with the writer-director’s A Nightmare on Elm Street . After five sequels released by New Line Cinema, known as “The House That Freddy Built,” thanks to their success, Craven’s script put himself and the original actors into a self-referential revamp that comments on the franchise while reinventing it. New Nightmare also remarks on the state of horror, Hollywood deal brokering, exploitation on and offscreen, and celebrity in a film that winks at the audience. Although the result became only a mild box-office success, New Nightmare reaffirmed Craven’s long-held interest in the dichotomy between two worlds: not only reality and the dreams haunted by Freddy Krueger, but also reality and the movies—the stuff dreams are made of, produced within the so-called Dream Factory of Hollywood. 

The casting of those “kids” would be vital to Scream ’s popularity. Craven was determined to avoid filling out the cast with anonymous names and faces, as many horror movies do. Barrymore’s presence as the first-cast actor set the standard. After years as a child performer, Barrymore entered the 1990s in several rebellious sexpot roles, including Poison Ivy (1992) and Batman Forever (1995). And her iconic presence in Scream wouldn’t be the first time she had cameoed in a horror movie—in 1992’s Waxwork II: Lost in Time , she appears briefly as a victim of Nosferatu. But her role as Casey would prove as iconic as Janet Leigh in Psycho . Neve Campbell had become popular thanks to TV’s Party of Five , as well as her first major movie role in The Craft , released just a few months before Scream in May. Skeet Ulrich also appeared in The Craft to lesser effect. Craven cast Ulrich for his resemblance to Johnny Depp, to whom the director gave his big break on A Nightmare on Elm Street . David Arquette had a recognizable face from mostly comedic roles in TV and movies, along with a memorable turn in Walter Hill’s Wild Bill (1995) as Jack McCall, killer of Wild West legend Wild Bill Hickok. Courteney Cox had become a household favorite thanks to a recurring role on Family Ties , the box-office hit Ace Ventura: Pet Detective (1994), and the sitcom Friends . Matthew Lillard, too, made waves after costarring in Hackers (1996), while Rose McGowan had appearances in a pair of Pauly Shore comedies. Altogether, Scream was filled with names and faces audiences would recognize. 

The opening sequence gives way to scenes in your typical horror movie high school, complete with twentysomethings playing teens who spend almost no time in class. Within this milieu, Craven could explore his recurrent interest in absent or unreliable parents, ineffectual cops, and broken families—all factors that isolate the teen characters. Among them, virginal student Sidney Prescott (Campbell) dwells on the murders of Casey and Steve, as nearly a year ago, her mother was raped and murdered in almost the same manner. But her initially supportive boyfriend, Billy (Ulrich), proves too sexually frustrated to be understanding. On the periphery are Sidney’s friends, Tatum (McGowan) and Stu (Lillard). McGowan turns Tatum into an archetypal snarky best friend role, while Lillard’s cartoonish over-acting hints at something unhinged behind his saliva-spewing line delivery and altogether wired screen presence that, upon revisiting the movie, provides an all-too-apparent clue to the third-act twist. A fifth wheel, Jamie Kennedy provides some laughs as Randy, the resident video store clerk and movie geek whose vast knowledge of horror movie survival rules (don’t have sex; don’t drink or do drugs; never say, “I’ll be right back”) goes unheeded and openly debated. 

Given that Williamson’s script has all the misdirection and entrenched backstory of an Agatha Christie murder mystery, one couldn’t be faulted for arguing that Scream has more in common with a whodunit than a slasher movie. But the script offers clues aplenty to the identity of the killers, the subtly queer-coded Billy and Stu, starting early in the proceedings when Gus Black’s acoustic cover of “Don’t Fear the Reaper” plays over Sidney and Billy, the resident reaper, making out in her bedroom. Later, Stu’s motivation becomes apparent when Randy notes that Casey dumped Stu for her new boyfriend, Steve, and both became victims. Ironically, Randy, while talking to Stu at Blockbuster Video around the film’s midpoint, outlines his theory that Billy makes the most likely prime suspect and Sidney’s father is merely a red herring—and he’s absolutely right. However, it’s rather unclear why Billy and Stu target Principal Himbry and Tatum, other than to increase the film’s body count. In that sense, Williamson’s story doesn’t have the same tightly wound logic of a Christie novel, splitting its energies between a whodunit template and a slasher. Though, the screenwriter shows more interest in commenting on the slasher subgenre than the whodunit when Sidney famously mocks that horror movies are all the same: “It’s always some stupid killer stalking some big-breasted girl, who can’t act, who always runs up the stairs when she should be going out the front door. They’re ridiculous.”

If one thing remains true of Scream and its sequels, it’s that the “Father Death” mask resulted in the iconic look of the franchise, despite its origins as a Halloween mask created in 1991 by Fun World, a novelties company established in 1959. Williamson’s script had no input about how the mask might look, and producer Marianne Maddalena discovered the Fun World mask by chance while scouting locations. Designed by Brigitte Sleiertin, the mask—originally named “The Peanut-Eyed Ghost” for the distinct shape of its eyes—is often said to evoke Edvard Munch’s famed 1893 painting The Scream . Rather, Sleiertin’s design was inspired by the ghost in the 1933 Betty Boop cartoon Snow White . Craven and Miramax negotiated with Fun World to gain the rights to their mask, and they agreed, realizing it would doubtlessly lead to more sales. Memorably voiced by animation regular Roger L. Jackson, Ghostface was played by stuntman Dane Farwell for much of the film, with Craven donning the costume for some of the opening sequence. As for the name, Tatum coins the term “Ghostface” when the killer isolates her in the garage at Stu’s party, the site of the film’s climactic scenes. Tatum wanders into the garage to get more beer, but the killer, credited in the script as “Ghost Masked Figure” or just “Figure” corners her. “No, please don’t kill me, Mr. Ghostface,” Tatum jokes. “I want to be in the sequel.” But Tatum doesn’t make it to the sequel or even out of the garage. 

Billy and Stu’s detachment from reality finds them producing a movie reality of their own making, except no diegetic cameras capture the action. Once they confront Sidney in the climactic scenes and reveal their master plan in true Scooby-Doo format, their mediated worldviews become disturbingly apparent. To plan their scheme, they “just watched a few movies, took a few notes,” and applied some homespun movie magic: Billy manufactures a stunt fall down the stairs, and they used the corn syrup fake blood formula from Brian De Palma’s Carrie (1976). They even intend a follow-up: “We get to carry on and plan the sequel,” Stu proclaims. “Let’s face it, these days, you gotta have a sequel.” Sidney tries to rationalize with them: “This is life. This isn’t a movie.” But Billy affirms, “Sure it is, Sid. It’s all a movie. Life’s one great big movie.” Williamson’s script cleverly folds over on itself, remarking on Billy and Stu’s movie saturation yet supplying a cinematic resolution. Just before Sidney gets the upper hand and kills Stu, he tells her, “I always had a thing for ya, Sid.” She responds, “In your dreams,” and pushes a television onto his head—her actions suggesting that perhaps Stu’s dreams and screen entertainment are inseparable, and his dreamlike movie logic will be his downfall. The same is true of Billy, who’s shot by Gale and believed dead, only to fulfill Randy’s promise that slashers always have one last stinger. All at once, Billy jolts up. Sidney shoots him in the head. Only our hero, Sidney, defies the genre expectations. She may be a virginal final girl, but she breaks the virgin rule, has sex with Billy during Stu’s party, yet survives in the end.  

Throughout his career, Craven’s dominant thematic concern is the separation between reality and other unreal worlds. In his most popular films, he explores the boundaries between real and more pliable realities (dreams, religion, television, cinema, etc.). For instance, Craven sought to depict unromanticized violence in The Last House on the Left to address the reality of the Vietnam War, therein identifying how most Hollywood violence is escapist entertainment and therefore a fantasy. Most famously in A Nightmare on Elm Street , Craven explored the opposing realms of reality and dreams with an entire film that takes place in a demonic dreamscape—a surreal rubber reality where anything can happen. The same quality pervades The Serpent and the Rainbow (1988), a highly fictionalized “true” account that weighs the science and mysticism behind the Haitian zombie. In Shocker , the slasher-style killer is a TV repairman who can move inside electricity, television airwaves, and others’ bodies, giving Craven a chance to explore how fantasy can bleed into reality. For the killers in Scream , their dreamlike perspective derives from an oversaturation in movie culture—a non-reality that prompts them to behave like horror movie characters. 

To be sure, Scream is a horror movie about horror movies—specifically those in the slasher subgenre, but also about movie watching and trivia in general. Nods to Universal’s 1931 Frankenstein give way to discussions about Jamie Lee Curtis’ “scream queen” presence in Prom Night to Terror Train (both from 1980). Tatum mentions those “Wes Carpenter” films with disdain, as Craven is sometimes bucketed with director John Carpenter, since both have created iconic screen killers. Billy questions why Hannibal Lecter eats people or why Norman Bates needed to kill at all, while Sidney wishes her life was more like a Meg Ryan movie. Horror movie icon Linda Blair appears in a brief cameo; so does Frances Lee McCain, who played the mom in Gremlins (1985), as Tatum and Dewey’s mother. Craven pokes fun at himself as well. References to A Nightmare on Elm Street occur throughout. In the opening sequence, the voice on the phone remarks how Craven’s original Freddy Krueger movie was scary. “Well, the first one was, but the rest sucked,” Casey replies, as if in defense of Craven. The high school also employs a janitor, named Fred (Craven), who dons Krueger’s signature red and green sweater and dirty brown hat. And as intended, Billy is a dead ringer for Johnny Depp, who in the 1984 film played a boyfriend who climbs through his girlfriend’s bedroom window as Billy does. Notably, there’s even an unscripted nod to Clueless when Randy says, “As if,” referencing Alicia Silverstone’s Cher. Released the year before, Amy Heckerling’s teen comedy, like Scream , has the rare ability to straddle the line between postmodern satire and straightforward genre exercise. However, Scream is more than a reference machine, and Craven’s skilled direction enhances Williamson’s writing. “I think I brought a lot to the film,” said Craven. “There were a lot of improvisations and physical staging of a lot of scenes [that were] very different to the way they’d been scripted.” The director worked with cinematographer Mark Irwin to create fluid, extended takes accented by lens flares, manic chases upstairs and through houses, and Dutch angles that lend the material a distinct, heightened appearance. But Craven faced a battle with the MPAA over his signature intensity—a tonal quality that cannot be corrected by removing a scene or two. Craven remarked that the censors called the film “Too loud, too frightening, too scary.” But wasn’t that the point? Following a long battle that left Craven exhausted (“After this episode with the MPAA, I feel like my days are numbered in this genre, because they’re just on me,” he lamented), the censors finally granted Scream an R rating. If some of the guts had been removed, Craven’s essential visual style remained, enhancing the thrills and occasional shocks, while the use of music and aural jump-scares manipulate the viewer. Marco Beltrami’s punchy electronic score and sound design rattle the audience with jolting booms, thumps, and screams on the soundtrack, each prompting an involuntary reaction. But the director deploys such tricks with an awareness of their history. Watch the abrupt cut when Sidney departs the school bus for home, prompting a mild jump-scare from the unexpected sound of the bus’ hydraulic brakes—a callback to how the original Cat People invented the jump-scare, once called “buses,” after a similar bus scene in that 1942 Val Lewton production. 

(Note: This essay was suggested and commissioned on Patreon and published on February 23, 2023. )

Bibliography: 

Maroney, Padriac. It All Began with a Scream . BearManor Media, 2021.  

Robb, Brian J. Screams and Nightmares: The Films of Wes Craven . Polaris Publishing, Inc., 2022. 

Wooley, John. Wes Craven: The Man and His Nightmares . John Wiley and Sons, Inc., 2011.

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10 Great Horror Movies Like Scream (And How To Watch Them)

Are these some of your favorite scary movies?

Wes Craven and Kevin Williamson forever changed the horror movie landscape when they unleashed Ghostface on an unsuspecting public. Released in 1996, Scream provided a bracing blend of murder-mystery, slasher movie shocks, and playful self-awareness through the plot of a movie-mad killer slashing their way through the fictional town of Woodsboro. The landmark film reinvigorated a flatlining genre, gleefully explaining and then subverting horror movie clichés and spawning a new generation of scary movie fans in the process.

The original Scream isn't only one of the best horror movies of all time , its success also fueled multiple sequels, an MTV series, and – given the $138 million box-office haul made by the 2022 “reboot” – proves that the franchise still has what it takes to slay the competition. So, if you’re looking to stream more movies like Scream , made by horror movie buffs for horror movie buffs, check out our list below of 10 great horror movies like Scream (and where to watch them).

Tucker & Dale vs. Evil (2010)

Two harmless hillbillies are besieged by a group of panicky college students in this goofy horror comedy. Tucker & Dale vs. Evil invokes the tropes of rural horror and repeatedly flips them on their head, with the vacationing kids of Eli Craig’s movie clearly having seen The Texas Chain Saw Massacre and Deliverance too many times. 

When Tucker and Dave save unconscious teen Allison from drowning, her prejudiced friends automatically assume they’ve got murder in mind. The reality is that Dale prefers board games to menacing banjo solos and the titular duo just want to renovate their cabin. Yet an escalating series of gory accidents only strengthens the conviction that they’re evil incarnate.

Stream Tucker and Dale vs. Evil on Amazon Prime Video . Rent or Buy Tucker and Dale vs. Evil on Amazon Prime Video .

Fright Night (1985)

The passé pleasures of Hammer Horror movies invade 1980s suburbia in this hugely entertaining film from Tom Holland . Fright Night follows teenager Charlie Brewster (William Ragsdale), an ardent fan of TV host Peter Vincent (Roddy McDowall) whose acting credentials include playing a vampire hunter. After becoming convinced that his new neighbor Jerry (Chris Sarandon) is a bloodsucking killer, Charlie tracks the B-list has-been down and begs him to help stop Jerry’s reign of terror.

The line between “fiction” and “reality” get blurred as gothic horror tropes irrupt in modern suburbia, and there’s some deliciously ironic commentary on 80s horror trends. As Vincent laments, “Nobody wants to see vampire killers anymore, or vampires either. […] all they want are demented madmen, running around in ski masks, hacking up young virgins.” Immensely fun, Fright Night is one of the decade's best vampire movies alongside The Lost Boys .

Rent or buy Fright Night on Amazon Prime Video .

The Cabin in the Woods (2011)

Directed by Drew Goddard and co-written with Buffy scribe Joss Whedon, The Cabin in the Woods takes the prototypical slasher template and uses it to deconstruct and revitalize the genre. It also functions, as Whedon explained to Total Film at the time, to critique the “devolution of the horror movie into torture porn.”

Almost every horror convention is flaunted as Curt ( Chris Hemsworth ), Holden ( Jesse Williams ), and Dana (Kristen Connolly) find themselves brutalized by a “Zombie Redneck Torture Family,” caught up in the machinations of an underground organization to placate some world-destroying deities. Much in the way Scream acknowledges the "rules" of the genre, Goddard’s film offers a funhouse of references – invoking Evil Dead , Japanese ghost stories, even Michael Haneke’s Funny Games – with the ending a gory blitzkrieg showcasing horror cinema's extensive iconography.

Stream The Cabin in the Woods with a Hulu subscription . Rent or buy The Cabin in the Woods on Amazon Prime Video .

Bodies Bodies Bodies (2022)

Halina Reijn’s English-language debut is a horror satire whose whodunnit setup feels like a feature-length, Gen Z variation of Scream ’s house party finale. Resentments are already brewing when Bee (Maria Bakalova) and her girlfriend (Amandla Stenberg) arrive for a “hurricane party” at their friend David’s gigantic mansion. So when the storm kills the power during a Murder in the Dark-style game and one of them is found with their throat slashed, nobody is above suspicion. Bodies Bodies Bodies is a brilliant black comedy and we can’t wait to see how Reijn’s upcoming A24 thriller Babygirl tops it.

Stream Bodies Bodies Bodies with a subscription to Paramount Plus .

Scream (2022)

Released 11 years after Scream 4 and the first entry not directed by Wes Craven , this “requel” focuses on a generation of characters reared on a movie diet of endless reboots and high-brow A24 horror movies , and whose connection to the original Woodsboro murders makes them the target for another Ghostface killer. 

Matt Bettinelli-Olpin and Tyler Gillett’s reverence for the franchise is what makes this movie work, and although it embraces the new – including a fresh cast led by Melissa Barrera – it remains heavily indebted to the OG slasher. The opening scene riffs off of Drew Barrymore ’s deadly movie trivia tête-à-tête, while the ending giddily restages the first film’s third-act bloodbath with ballsy legacy characters like Sidney Prescott ( Neve Campbell ).

Stream Scream (2022) with a Paramount Plus subscription . Rent or buy Scream (2022) on Amazon Prime Video .

Totally Killer (2023)

Totally Killer follows Jamie Hughes (Kiernan Shipka), who on Halloween night – the 35th anniversary of the Sweet Sixteen Killings – goes to a rock concert with her friend Amelia (Kelcey Mawema), a gifted student working on a time machine. But when the masked maniac strikes again, a melee in Amelia’s time machine sends Jamie back to Vernon High circa 1987 – giving her the perfect opportunity to prevent the original killings.

Shipka brings a Gen-Z sensibility to proceedings as a time-traveller from a more “enlightened” age, given the unenviable task of keeping a bunch of horny Gen X teens alive. It’s a lively mashup of Back to the Future and movies like Scream , which, from the early demise of Modern Family -star Julie Bowen to the film’s skewering of clichés, pays dutiful homage to the aforementioned slasher classic.

  Stream Totally Killer with an Amazon Prime Video subscription .

Freaky (2020)

Freaky is a hilarious hybrid of body-swap film and horror movie. When the Blissfield Butcher (Vince Vaughn) stabs high student Millie Kessler (Kathryn Newton) with a mystical dagger, the two mysteriously swap bodies. Their surreal predicament allows the infamous killer to wreak havoc as Millie without drawing suspicion, while Millie as the Butcher embraces a brutish strength she finds empowering.

The film's role-reversed take on the gendered slasher formula is ingeniously subversive, standing out as a defiantly inclusive example of the genre. As expressed when Josh declares, “You’re Black, I’m gay. We’re so dead!” to Nyla, the genre hasn’t historically been kind to marginalized individuals, yet Freaky embraces its “otherness” to both sweet and satirical effect. Vaughn, meanwhile, is perfectly cast, and never more endearing than when bashfully entertaining the attention of Booker, Millie’s high school crush.

Stream Freaky with a Peacock Premium subscription . Rent or buy Freaky on Amazon Prime .

Wes Craven’s New Nightmare (1994)

A few years before Wes Craven made Scream , he directed what many consider to be his meta masterpiece. New Nightmare didn’t set the box-office on fire, but Craven’s cerebral shocker did receive rave reviews, with Rolling Stone ’s Peter Travers calling it “The cleverest, wittiest, most twisted scarefest in ages!”

A film about the making of another A Nightmare on Elm Street movie, New Nightmare found the cast and crew of the 1984 original being terrorized by a Freddy Krueger-like entity, with actress Heather Langenkamp trying to prevent him from crossing over “out of films, into our reality.” It’s an ingenious concept, whose meta layers and "rubber reality" engender a deeply unsettling atmosphere. Freddy even gets listed in the film’s end credits as being played by – *gulp* – “Himself.”

Rent or buy Wes Craven’s New Nightmare on YouTube .

Ready or Not (2019)

Before relaunching the Scream series to critical acclaim, Matt Bettinelli-Olpin and Tyler Gillett directed Ready or Not , a blackly comic thriller starring Samara Weaving, Adam Brody, and Andie MacDowell, and which cemented Weaving’s reputation as one of the all-time greatest horror scream queens . She plays the newly married Grace, who’s hunted by the Le Domas family during a deadly game of “Hide and Seek,” her demented in-laws under the impression that she must be sacrificed to satisfy a Faustian pact. Like Scream , Ready or Not effortlessly combines satire, subversion, and splatter, with Weaving’s transformation from naïve spouse into gun-toting badass a delight to witness.

Stream Ready or Not with a FuboTV subscription . Rent or buy Ready or Not on Amazon Prime Video .

An American Werewolf in London (1981)

An American Werewolf in London set the standard for modern horror comedies: balancing shocks, mockish humor, and featuring a soundtrack with an ironic litany of lunar references. The story concerns American backpackers David (David Naughton) and Jack (Griffin Dunne), who’re savaged on the Yorkshire Moors by a vicious, wolf-life creature. David survives, waking up in a London hospital three weeks later. But he’s plagued by visions of his dead friend, who urges that he kill himself before the next full moon – or else. It’s a garishly bloody and bloody funny film, featuring one of the most iconic scenes in cinema history thanks to FX artist Rick Baker.

Stream An American Werewolf in London free with TUBI . Rent An American Werewolf in London on YouTube .

If you're looking for more to scream about, read here for everything we know so far about Scream 7 . Plus, there are plenty of upcoming horror movies planned for 2024, so there'll be no shortage of scares this year.

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Daniel Pateman has been a freelance writer since 2018 and writing for fun for much longer. He currently works across Future Plc brands like TechRadar, T3, Games Radar, and What Hi-Fi?, where he has produced detailed guides on the best streaming services and regularly writes How to Watch pieces informing our readers where to watch the hottest new films and TV shows.

In addition to his work with Future, Daniel writes broadly on topics across the cultural spectrum, including photography, sculpture, painting, and film, the latter being the medium closest to his heart. He’s been published in Aesthetica, The Brooklyn Rail, and Eyeline magazine, interviewed various artists and has reviewed exhibitions within the UK and internationally. He’s also commissioned by curators and artists to help produce catalogue essays, press releases, and museum wall text.

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10 Directors with Multiple Films in the Same Franchise

These directors were doing something right to get the callback more than once.

Franchises are a nuanced business, and when done right, filmmakers and audiences will reap the benefits of good storytelling and movie-going experience. Done wrong, and it could be curtains for the director or the studio could pull the plug on the entire series . In some instances, long-standing franchises have the same director for every installment, while others rotate in and out a selection of talented artists to deliver their vision for fans.

These directors understood the assignment when it came to setting the tone, passing the torch, or picking up the gauntlet . From iconic installments in cinematic history to fan favorites, these franchises continue to deliver again and again from the consistency of the same director for more than one movie.

10 Michael Bay

'transformers' (2007-2017).

Directing five of the seven franchise movies, the name Michael Bay is synonymous with Transformers . For over a decade, action fans have equated Bay's name with the expectation of showstopping CGI and lots of explosions, leaving lots to be desired for critics regarding the storyline. Bay has a knack for high-intensity action sequences that require blockbuster budgets and result s to continuously bring them to the screen.

The only two movies he did not direct were Bumblebee and Rise of the Beasts . One of which is certified fresh— Bumblebee —and a stand-out film in the franchise. Every Michael Bay-directed Transformer installment is decidedly rotten in the eyes of critics , but audiences love a good car chase and robot fight sequence to justify each movie. Bay does exactly what he's expected to do: bring a feature so action-packed there's little room for anything else.

Transformers

Watch On Apple TV

9 Justin Lin

The fast & the furious franchise (2006-2021).

Of the 10 features in the franchise, Justin Lin is the only filmmaker to direct more than one installment. He began with the third movie, The Fast and the Furious: Tokyo Drift , and ended with F9, directing movies four, five, and six in between. Lin departed the franchise a week into the production of Fast X , with c reative differences the alleged reasoning behind his exit .

Lin's directional leadership and guidance transitioned the franchise from street racing flicks to over-the-top action heist films with a myriad of star-studded characters. He also served as producer or executive producer on four of the films. Lin's role in this franchise was instrumental in making these movies for the fans and not the critics.

The Fast and the Furious: Tokyo Drift

Watch on Apple TV

8 Chris Columbus

'home alone' (1990-1992), 'harry potter' (2001-2002).

Chris Columbus is responsible for kick-starting two separate franchises that are still consistently revisited decades later by moviegoers of all ages. An iconic holiday movie classic, Home Alone was only the third feature Columbus directed. Very early in his career, he established that he could successfully navigate the world of family fun without diminishing the talent of its child actors or the storyline. Two years later, Home Alone 2: Lost in New York swept audiences away again as Macaulay Culkin returned as the mischievous Kevin McCallister. The 1992 sequel would be the last film in the franchise for both.

After a stint with movies like Mrs. Doubtfire and Stepmom , Columbus returned to kid-centered cinema by directing the first two adaptations of Harry Potter . Once again, he put his craftsmanship and patience into a set of films that would captivate the younger audience and their parents, ushering a franchise into the long-running genre where future directors could create their own unique vision.

Watch on Disney+

7 Wes Craven

'scream' (1996-2011).

An established horror icon before Scream graced the screen, Wes Craven directed the first four films, teaming up with Kevin Williamson to pen each of them. This horror franchise was like nothing audiences had seen before, thanks to Craven's terrifying opening sequence . It set the tone and laid a foundation to compete with other iconic horror films chomping at the bit to become franchises. The first two installments were a hit with critics and audiences, while three and four flopped with critics but still maintained a captive horror audience.

Scream 4 was the final film he directed, reportedly "miserable throughout," in the franchise and the final film he directed at all before his death in 2015. Following Craven's departure from the director's chair, the reboots found success as cast members returned, and new faces emerged to lead the future of what Craven started.

Watch on Max

6 Francis Lawrence

'the hunger games' (2013-2015), 'the ballad of songbirds and snakes' (2023).

After Gary Ross departed from the first film due to scheduling , Francis Lawrence stepped in to take over, finishing out the remaining installments and the recent prequel. The page-to-screen adaptation of The Hunger Games was widely anticipated and a defining franchise for the 2010s dystopian genre. While Catching Fire and the two Mockingjay installments had a different feel than the first film, teen audiences remained highly invested in the story of Katniss Everdeen ( Jennifer Lawrence ).

A decade after he joined the franchise, Lawrence returned to helm the prequel film starring Rachel Zegler as Lucy Gray Baird, this generation's dystopian heroine. As there are no immediate plans or source material to adapt, The Ballad of Songbirds and Snakes appears to be the final end of an era for Lawrence as he gears up to return to the I Am Legend world and another popular franchise prequel, The Constantine 2 .

The Hunger Games: Catching Fire

Watch on Peacock

5 David Yates

'harry potter' (2007-2011), 'fantastic beasts' (2016-).

Finishing the last half of the beloved Harry Potter franchise with movies five through seven, Warner Brothers entrusted the prequel franchise to David Yates . After Chris Columbus, Alfonso Cuarón , and Mike Newell rounded out the first four films, Yates was tapped to carry out a much darker, mature version of Harry's ( Daniel Radcliffe ) wizarding journey. The tonal shift is obvious from the first scenes in Order of the Phoenix , one that grows much heavier by the time the Deathly Hallows installments arrive.

Following the fans' craving for more magical adventures and backstory within the universe, Yates answered the call to direct Fantastic Beasts . Despite some hiccups, including casting issues, filming delays, and a decline in reviews , he is still slated to direct all five films.

Fantastic Beasts and Where to Find Them

4 gore verbinski, 'pirates of the caribbean' (2003-2007).

Before the franchise shipwrecked in the high seas of too many movies, Pirates of the Caribbean had director Gore Verbinski at the helm. He directed The Curse of the Black Pearl , Dead Man's Chest , and At World's End , each earning multiple Oscar nominations in the technical categories, with Johnny Depp earning a Best Actor nod for the first installment. Verbinski didn't return for On Stranger Tides or Dead Men Tell No Tales .

The trilogy (as many fans refuse to acknowledge the fourth and fifth installments) was cohesive from the style to the acting. Under Verbinski's leadership, the Pirates franchise captivates audiences and critics with its gritty nature and comedic timing. Dead Man's Chest holds the top spot for highest lifetime gross at the box office, with At World's End in second and The Curse of the Black Pearl third.

Pirates of the Caribbean: The Curse of the Black Pearl

3 christopher mcquarrie, 'mission: impossible' (2015-2025).

After rotating through four directors for the first four installments, Mission: Impossible finally found its franchise director with Christopher McQuarrie in 2015 with Rogue Nation . From there, it's been smooth sailing, pushing the envelope with Tom Cruise 's testing the stunt and action limits. McQuarrie's three released films are the best of the franchise, all certified fresh by Rotten Tomatoes , with 2025's Dead Reckoning Part Two sure to follow suit.

As the size and scale increase with each production, McQuarrie has yet to shy away or fail to deliver to the large fanbase surrounding Cruise's action career . Mission: Impossible is one of the most iconic action franchises led by an iconic action star, and under McQuarrie's direction, will continue to reach new heights as long as the audience calls for it.

Mission: Impossible - Rogue Nation

Watch on Paramount+

2 Chad Stahelski

'john wick' (2014-2023).

A stuntman turned director, Chad Stahelski, proves that real-life action experience can translate beautifully behind the camera . The John Wick franchise stunned critics and audiences with its spectacular delivery of such a simple premise: a retired hitman ( Keanu Reeves ) seeking revenge after his car is stolen, and his dog is killed. Not only does Stahelski direct the movies, but he produces them too.

Each film gets better and better as Stahelski carefully crafts plot-driven action that eliminates the need to sacrifice one or the other for entertainment value. With the highly successful franchise consistently performing well at the box office , the John Wick universe unveiled its first two expansions with Ballerina and The Continental .

Watch on Netflix

1 Steven Spielberg

'indiana jones' (1981-2008).

It's hard to name a more iconic franchise director than Steven Spielberg . His legendary films have captivated audiences for decades; the Indiana Jones series is no exception. He directed the original three films and returned to the fourth (and his last outing with Indy) in 2008. While Harrison Ford became the franchise actor playing Indy and Han Solo in Star Wars, Spielberg dominated the 80s behind the lens, bringing moviegoers blockbuster adventure films that still entertain today.

He gracefully passed the torch to a new generation of Indiana Jones fans and filmmakers in 2023 for Indiana Jones and the Dial of Destiny as Ford donned the hat for one final adventure. Spielberg remained tied to the franchise as an executive producer. If a sixth installment were to ever come to fruition, who knows if Spielberg would take the reins back after movies 4 and 5 failed to match the caliber of the originals?

Indiana Jones and the Raiders of the Lost Ark

In 1936, archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before the Nazis can obtain its awesome powers.

NEXT: The 10 Longest Installments in Popular Film Franchises, Ranked by Length

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‘scream vii’ back on track with neve campbell returning.

The seventh installment faced multiple setbacks in recent months, including the firing of a star, the departure of another, and the exit of a director.

By Aaron Couch

Aaron Couch

Film Editor

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In a dramatic turn of events, Neve Campbell is returning to the world of Scream , the latest twist for a franchise that just several months ago appeared to be on the ropes. Campbell’s return is particularly noteworthy, as she sat out Scream VI over a salary dispute with producer Spyglass.

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The seventh installment of Scream has faced multiple setbacks, including losing star Jenna Ortega , the high profile firing of star Melissa Barrera , and the exit of director Christopher Landon .

The addition of Campbell adds new life to the feature, as her character Sidney Prescott has been the the series’ heartbeat since the first installment. In 2022, when announcing talks had broken down over pay, she said in a statement, “As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to Scream . I felt the offer that was presented to me did not equate to the value I have brought to the franchise.”

Filmmaking trio Radio Silence revitalized the franchise with 2022’s Scream , which featured Campbell. Fourteen months later they released Scream VI , which broke the series’ record for biggest opening weekend with a $44.5 million opening . Scream VI starred Scream survivors Melissa Barrera, Jasmin Savoy Brown, Mason Gooding and Jenna Ortega, along with returning franchise stars Hayden Panettiere and Courteney Cox. Radio Silence will executive produce this film, with producers including Vanderbilt and alongside his Project X Entertainment partners William Sherak and Paul Neinstein.

Williamson, who directed the 1999 feature Teaching Mrs. Tingle , is repped by CAA and Felker Toczek. Busick, who co-wrote the upcoming Radio Silence horror feature Abigail , is repped by Gotham Group, A3 Artists Agency and Jackoway Austen. Campbell is repped by Gersh, Anonymous Content and attorneys Johnson Shapiro.

View this post on Instagram A post shared by Neve Campbell (@nevecampbell)

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• A year after the murder of her mother, a teenage girl is terrorized by a masked killer who targets her and her friends by using scary movies as part of a deadly game.
• A year after her mother's death, Sidney Prescott (Neve Campbell) and her friends started experiencing some strange phone calls. They later learned the calls were coming from a crazed serial killer, in a white faced mask and a large black robe, looking for revenge. His phone calls usually consist of many questions, the main one being: What's your favorite scary movie? Along with much scary movie trivia, ending with bloody pieces of innocent lives scattered around the small town of Woodsboro. — Joss Oran
• A teenage girl becomes the target of a killer who has stalked and killed one of her classmates. A tabloid news reporter (insisting that the man who raped and killed Campbell's mother one year earlier is innocent) is determined to uncover the truth. Campbell's boyfriend becomes the prime suspect. — Robert B. DeSalvo <[email protected]>
• A peaceful town in California turns into a bloodbath when a masked killer haunts the town. Sidney Prescott, a young teenage girl, whose mother was killed a year before, becomes the target of the mask killer! Her boyfriend Billy Loomis becomes the main suspect along with Sidney's father. Local Tabloid News Reporter Gail Weathers and Woodsbroro's Deputy Dwight "Dewey" Riley investigate and try to figure out who the killer is and if it's the same person who killed Sid's mom the year before! — Momoseeko12
• One year after Sidney's moms death, more killings start to occur. Their only clue is a ghost mask. A local tabloid reporter, Gale Weathers is on the case to find out who the killer is. She tells Sidney that it could possibly be the same man that killed her mom one year earlier. When the night comes, she will see who the person is behind the mask. — Kyle <[email protected]>
• The film opens with young Casey Becker (Drew Barrymore) recieving phone calls from an unidentified caller. At first it seems as if he has gotten a wrong number, but it soon becomes clear he is toying with her, and his voice gets more and more threatening. Casey becomes frightened when she realizes her caller can see her. She begins to panic when the caller threatens to kill her, and forces her to answer movie trivia in exchange for her life and the life of her boyfriend, Steve, who she sees tied up on her back patio. After killing Steve, the caller torments Casey until finally breaking into the house and chasing her; he is dressed in a black costume with a white ghost mask over his face. He chases her across her lawn just as her parents pull up into the driveway. They do not see her, and Casey is stabbed in the chest, unable to scream. After killing Casey, the murderer strings up her body in the back yard for the parents to discover. We then meet Sidney Prescott (Neve Campbell) and her boyfriend Billy Loomis (Skeet Ulrich). Billy sneaks into her bedroom window and attempts to have sex with her, but Sidney is unsure and wants to remain a virgin for now. They are almost discovered by Sidney's father, Neil (Lawrence Hecht), and he comes into Sidney's room to discuss the fact that he is going out of town. We learn that Sidney's mother was killed almost one year before, and that Sidney and her father are alone. Sidney's testimony identified Cotton Weary (Liev Schreiber) as the killer, although Cotton swears that he is innocent. The next day, Sidney's school is abuzz with news of the murder, and classes are temporarily cancelled. Sidney decides that since her father is gone and she is alone, she is going to stay with her her best friend Tatum (Rose McGowan). Sidney, Tatum, and BIlly sit with their group of friends, which includes Randy (Jamie Kennedy), who is obsessed with horror movies, and Stu (Matthew Lilliard), a class clown type who used to date Casey Becker. Sidney goes home to wait for Tatum to pick her up. The phone rings and she hears a strange voice, the same one that was on the phone with Casey. At first she thinks it is Randy joking around, but the caller turns abusive and brings up Sidney's mother. "Do you wanna die, Sidney? Your mother sure didn't!" The killer emerges from a closet in Sidney's house and a chase starts through out the house and Sidney locks herself in her bedroom and dials 911. Then Billy arrives, climbing through Sidney's window again, and a cell phone falls out of his pocket. Sidney realizes that it may have been him phoning her and she runs downs stairs and out of the house only to be greeted by the police. She is taken to the police station along with Billy, where he is questioned. At the police station, Sidney meets Dewey (David Arquette), Tatum's older brother and the town deputy, who is considered a dolt. Outside the police station, she is confronted by nosy reporter Gail Weathers (Courtney Cox), the writer of an expose about the murder of Sidney's mother. Gail feels that Cotton Weary was wrongfully convicted, and now Gail is following up a story about the murder of Casey Becker; she feels the murders are connected. Tatum takes Sidney to her house, where she recieves another phone call from the killer, who tells her "You got the wrong guy, Sidney...again." The next day at school, Sidney is threatened by the killer while she is in the bathroom, but she escapes. School is over and a curfew is in place, so the group of friends decide to throw a party. Gail Weathers takes a cameraman to the party in an attempt to talk to Sidney, but Dewey intercepts her. The two of them talk and seem to have a mutual affection for one another. They enter the party and Dewey chooses not to bust the partygoers for underage drinking. During the party Billy and Sidney go upstairs and Sidney has sex with him. Meanwhile, Tatum is murdered in the garage by the killer, who has infiltrated the party after all. After the interlude between Sidney and Billy, the door opens and in walks the killer, who stabs Billy in the back. Another chase starts. Dewey is stabbed. Gale, in her newsvan, swerves to avoid hitting Sidney and runs her car down a hill, striking a tree and appearing to be killed. Sidney ends up in the house facing Randy and Stu, both claiming the other is the killer. Stu is vying to come inside and obtain the gun, while Randy wants to leave. Eventually Billy stumbles down the stairs, bloodied, and lets Randy and Stu into the house, shooting Randy and turning to reveal that the blood is fake; Billy was only pretending to be stabbed. He was aided by his accomplice, Stu; both of them are the killers. Billy also reveals that he was responsible for killing Sidney's mother, who had an affair with his father. Billy blamed Mrs. Prescott for the dissolution of his parents' marriage, and murdered Mrs. Prescott out of revenge. Billy and Stu also reveal that they have kidnapped Mr. Prescott, who is tied up in a closet. They have framed Mr. Prescott for the murders, and intend to wound themselves to make it look as if Mr. Prescott attacked them, at which point they will kill both him and Sidney. Billy and Stu inflict flesh wounds on one another with the knife, but they are interrupted by Gail Weathers, who returns, armed with Dewey's gun. Gail forgets to switch off the gun's safety, and a struggle ensues. Sidney strikes back at her tormenters, killing Stu with a television and shooting Billy in the head with the gun. Dewey is revealed to be alive, as is Randy. All ends well as Gale reports that the Macher house has been the scene of what seemed to be some real-life scary movie.

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Scream is one of the biggest horror franchises of all time, ever since the original movie premiered in 1996, nearly 30 years ago.

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Samara Weaving Is the (Silent) Scream Queen of SXSW With ‘Azrael’

“A Quiet Place” gets biblical in this fantastic horror flick, which should help Samara Weaving become one of Hollywood’s biggest horror stars.

Coleman Spilde

Entertainment Critic

C2 Motion Picture Group

After last year’s abysmal No One Will Save You , in which Kaitlyn Dever ran from alien invaders without ever saying a word throughout the film’s entire runtime, releasing another horror movie with deliberately little dialogue is like playing hopscotch on thin ice: ill-advised. Luckily, the minds behind this latest almost-wordless film, Azrael , which premiered at SXSW Film Festival March 9, have some tricks to ensure that this quiet conceit is less of a gimmick and more of a fascinating storytelling device.

The first is the film’s legitimately imaginative premise, which follows a young woman hunted by a cult of violent religious zealots, who will stop at nothing to ensure that they capture and sacrifice her. The second is the supreme talent of star Samara Weaving , who plays the titular Azrael and reaffirms that she is one of the most enigmatic horror stars working today. Weaving’s turn in Azrael is just as gnarly and meticulous as her performances in Ready or Not , the two Babysitter films, and the cold open of the latest Scream movie . But in Azrael , Weaving confirms that she has the nerve to be a horror icon, delivering a wicked and gritty performance, and rising to the demands of a film where she must believably convey the nuances of fright and rage, without any words to do so.

Azrael is set after a biblically accurate Rapture sends the earth into peril, a condition that the film communicates with title cards of scriptural quotes. Because Azrael is almost dialogue-free and set after the end of the world, the film is almost begging for comparisons to A Quiet Place . It almost seems like Azrael is daring those analogies, given that, like A Quiet Place , this film also includes a collection of sinewy cryptids that are never far from Azrael or the cult that’s tracking her. It’s as if writer Simon Barrett and director E.L. Katz were less than impressed with the big-budget sheen of that franchise and set out to make their own version with a little more carnage, which the film supplies in bloodsoaked droves.

Decapitations, throat-ripping, and skin-slashing are all par for the course in Azrael , and the film wastes no time letting viewers on to the extent of its gore. At the beginning of the movie, Azrael and her romantic companion (Nathan Stewart-Jarrett) are captured by the sect of religious fanatics, who make their first attempt to sacrifice the pair. It inevitably goes south, but not without someone else succumbing to the horrific violence of the blood-guzzling forest demons. These things are legitimately freaky, even by horror standards, recalling the cave mutants from The Descent if they were covered in the dried blood of their prey. Naturally, Azrael wants to escape that kind of fate.

Azrael spends the entire film in this state of flux. She’s fleeing from demonic entities. She’s escaping the cult's apprehension. She’s running from the camp of run-down mental shanties that they live in. Were the film longer than its brisk 85 minutes, this repetitive structure would easily hinder its breathless pace. But Azrael sticks around just long enough to give viewers a little taste of its brutal world before sending them back into the light of day.

All of that running and hiding demands Weaving give a fierce physical performance, and she is more than up for the challenge. Her large, expressive eyes and knotted facial language telegraph Azrael’s emotions and desires without any words. The closest Weaving ever comes to talking are her silent, strained screams. She conveys the character’s utter exhaustion without making the audience feel it themselves, and commands the camera with even more intensity as Azrael reaches her limit and flips toward boisterous revenge. Weaving provides the film with a gripping spectacle without saying a single syllable, and it’s no leisurely feat.

Even if it’s a fascinating and well-executed concept, one has to eventually wonder: To what end? Azrael makes a ferocious meal out of its lack of talking, subbing in some stellar sound design and carefully chosen needle drops and score cues. Katz’s film is occasionally complicated by the necessity to stick to Barrett’s vision. Audiences, especially those familiar with the biblical nature of Azrael’s namesake (Azrael is an archangel of death), won’t need to be spoon-fed—especially when the character makes it to the cult’s eerie chapel, run by an equally chilling priestess. But some may crave a story that is more resolute, its answers more definitive and less left up to viewer interpretation.

But Barrett has always been great at toying with the viewer’s expectations, taking what the audience thinks will happen and batting that around until it looks like something else entirely. He did it in the screenplays for You’re Next and The Guest , a pair of slick and ultra-memorable horror films that kept people guessing until the end. That style is a particularly effective trick in Azrael , where the audience is forced to remain engaged with Barrett’s wordless screenplay to understand exactly what’s happening within the film’s horrific dystopia.

The scarcity of speech doesn’t, however, make Azrael hard to follow. Barrett could easily muddle his script by focusing too much on how “inventive” the lack of dialogue is, but he understands that this conceit is nothing new. Instead, Barrett thrusts the audience into events that are already at play, and encourages us to catch up to where his characters and this world are at. By inserting us into something that’s already happening, and very close to reaching its conclusion, Barrett and Katz pull off a clever, sanguine finale that requires only as much extra thought as any individual wants to give it. It’s nice that Azrael is so unassuming. A lack of self-importance keeps the film from feeling like an experiment, but rather a fully formed thesis brought to life by an electrifying Weaving, whose daring choices may have solidified her as Hollywood’s next horror dynamo.

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Imaginary is a mess of a horror movie, and not in the fun way

There are real teddy bears scarier than Blumhouse’s latest movie

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It’s hard to know where to start in describing how bad Imaginary is. The new horror movie from Blumhouse and director Jeff Wadlow ( Kick-Ass 2 ) starts with the simple but promising premise of a haunted stuffed animal and a malicious imaginary friend, but its bland characters, muddy storytelling, and lack of scares leave behind a movie more lifeless than a teddy bear with no stuffing.

Imaginary ’s mess of a story begins with a woman named Jessica ( She’s Gotta Have It and Jurassic World Dominion ’s DeWanda Wise) and her new husband, Max (Tom Payne), waking up after one of Jessica’s recurring nightmares. She’s being chased through a long hallway by a giant spider, who also happens to be the main villain in the children’s books she writes. The couple quickly decide that it’s time for them and Max’s two kids from a previous marriage, teenage Taylor (Taegen Burns) and much younger Alice (Pyper Braun), to move into Jessica’s childhood home, in hopes that the familiar setting will cure her of her nightmares. Max’s kids aren’t too happy about the move, though it isn’t quite clear how far they’re going or what their specific objection is.

It isn’t really clear whether we’re supposed to believe Jessica wants to get along with her new stepdaughters, or if her rudeness to them is an accidental problem of the script and the performance. Either way, after a few days in the house, Jessica ignores Alice by sneaking out of the house during a game of hide-and-seek in order to take a work call, leaving Alice to explore the basement and find Chauncey the creepy teddy bear.

Chauncey quickly becomes Alice’s new imaginary friend, who she talks to constantly and takes with her everywhere. This part of the plot strongly evokes M3GAN , without ever getting near that movie’s knowing sense of fun. All this setup happens by about 10 minutes into the movie, and it’s also where the coherent details of the plot end.

[ Ed. note: The rest of this story contains significant spoilers for Imaginary . The good news is, reading about them is much more fun than sitting through all 104 minutes of the movie.]

Chauncey’s arrival should also usher creepiness into Imaginary , but the movie gets so diverted by trying to piece together a story out of its myriad meaningless plot threads that it doesn’t have much time to dedicate to actual horror. In one scene, for instance, the children’s biological mother shows up at Jessica’s house without warning, attacks Jessica, reveals that she seems to psychically know there’s something evil in the house, gets arrested, then disappears for the entire rest of the movie. This scene is never brought up again.

Shortly after that, Max just leaves his children with their new, clearly not up-to-the-task stepmom so he can go on a seemingly indefinite tour with his band. There’s also a creepy neighbor who just happens to have a fully illustrated academic textbook on imaginary friends that seems tailor-made for a lazy exposition scene. The movie even throws in two separate child-abuse plotlines that it eventually just shrugs off when they aren’t useful anymore.

It’s tempting to try to read into this labyrinth of digressions to try to find some kind of meaning or intention, but Imaginary never makes that feel worthwhile. There isn’t a single character in the movie who feels worth rooting for, and the performances are entirely devoid of charisma. The script, written by Wadlow, Jason Oremland, and Greg Erb, is full of wooden dialogue that’s stiff and often feels almost completely nonsensical. Characters sometimes introduce new information like it’s a fact the audience has known forever.

At other times, they treat seemingly obvious plot points like major, unguessable reveals — like when we find out that Chauncey once belonged to Jessica. None of these plot threads ever amount to much, and most of them are just left dangling by the end of the movie. If the filmmakers don’t care about them, why should we?

But as with any horror movie, most of this disaster could be overlooked if only the story was scary. Instead, that’s where its failures become most apparent. Imaginary doesn’t bring a single original idea to the horror genre. It’s entirely paint-by-numbers filmmaking that never even manages to create tension, let alone fear. Characters look under beds while the cloying score brings in a swell of strings to beg us to feel something. Chauncey moves on his own a time or two, and even transforms into a monstrous bear, but the scenes are lit so badly that the effect just looks cheap and underbaked rather than remotely terrifying. Watching sequences this rote is soul-crushing for a horror fan, and they make the moments where the movie slows down for its next attempt at a scare feel like they drag on for ages.

The one briefly interesting sequence comes in the final third of the movie, when Alice has been tricked into visiting the world of the imaginary friends, and Jessica and Taylor have to rescue her. This world floats in darkness, and its only solid ground is a checkerboard floor in an endless hallway of doors. Sections of the world form staircases to nowhere, dead ends that drop into an abyss, and doors that seem to float upside down.

None of these visuals are wholly original — they take aim at the middle ground between Twin Peaks ’ Red Room and a Scooby-Doo chase scene , without any of the fun that combination implies. But even without originality, it’s far and away the best visual of the movie. Sadly, for most of their time in this world, the characters just charge blindly into doors and end up in the same boring rooms we’ve seen in the rest of the movie, each one shot essentially the same as it was in the real world, just a little bit darker.

Imaginary didn’t have a high bar to clear. In a year that’s been lacking interesting horror movies so far, with the other Blumhouse entry Night Swim as the only real bright spot, all this movie ever really needed to be was some silly fun with a few good scares. Instead, it gets lost in a maze of awful storytelling and frustrating characters, all without offering anything more than the stock-standard horror tropes that have been done better in a million other movies.

Imaginary is in theaters on March 8.

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