Then something strange happens: The killer immediately takes off his mask, and we follow him for a while. Someone in a ghost-face mask lures a hapless film studies professor ( Samara Weaving) into an alley, where she is mercilessly stabbed to death. Compared with the original Scream, with its bright cinematography that lit the actors appropriately, there is the sense the directors somehow do not care about how their film looks.Įither way, a surprisingly clever prologue sets the tone. This film is extremely dark, literally, to the point where you might strain to understand what befalls all the characters. Perhaps unintentionally, the predominance of night scenes leads to a persistent formal problem. They envision the city as a kind of hellscape where killers can stalk the streets with impunity, and locals are indifferent to suffering.
The biggest shift is that directors Matt Bettinelli-Olpin and Tyler Gillett move the action from the fictional town of Woodsboro, California, to Manhattan-only the second and third films haven’t taken place in the town that started it all. To its detriment, Scream VI only comments on itself. While some satire has peppered the franchise, it has now become self-aware. Nearly 30 years later, Scream VI has a similar scene, one where a character describes “the rules for surviving a horror franchise.” This happens on a college quad, not a drunken party, and now there is little sense of skepticism-the scene has an obligatory, almost didactic quality.
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In the original Scream film, context matters when Jamie Kennedy’s character describes “the rules for surviving a horror movie.” To friends giving him shit for how seriously he takes horror, Kennedy’s Randy enumerates slasher movie cliches at a high school party where John Carpenter’s classic Halloweenplays in the background.
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