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Scott Morse recommended The Blob (1958) in Movies (curated)
Kevin Phillipson (10018 KP) rated Eternals (2021) in Movies
Nov 25, 2021
Gemma chan (1 more)
Richard madden
Finally watched today three weeks later was it worth the wait yes for me it has everything a marvel movie drama action romance. as I knew enough about the Etenals thru the comics as created by Jack kirby in the 1970s and to finally see them on the big played by the likes salma Hayek and angelina Jolie who I thought were under used could have done with more screen time but that didn't effect my enjoyment of the movie at all. Overall good start to the Eternals here's hoping for a sequel and more on kit Harringtons character I got a feeling I know where he's headed
Gareth von Kallenbach (980 KP) rated Mission: Impossible - Fallout (2018) in Movies
Jul 8, 2019
Ethan Hunt (Tom Cruise) is back and on a mission to stop a terrorist group, known as The Apostles, from acquiring three uranium cores that they will use to create nuclear devices. Hunt and his Impossible Mission Force (IMF) team (Simon Pegg and Ving Rhames) set up a black market deal to purchase the cores. But during the buy Luther (Rhames) is taken hostage. In a rescue attempt Hunt and Benji (Pegg) let the cores slip into the hands of The Apostles. Due to Hunt’s choice to save his team over protecting the cores has put the world in danger of nuclear attack. Luckily, the head of the IMF, Alan Hunley (Alec Baldwin, has received intelligence that an arms dealer known as the White Widow (Vanessa Kirby) is looking to broker a deal for the cores. The only problem is the price is not money but the breaking out of the former IMF nemesis and anarchist Solomon Lane (Sean Harris). Hunt, eager for redemption, agrees to once again track down the cores. But the CIA want to make sure that this time the job is done right, so Director Erica Sloan (Angela Bassett) demands her top cleaner August Walker (Henry Cavill) accompany. With the help of the CIA they will try and break Lane out of prison and save the world from a catastrophic nuclear attack.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ryan Hill (152 KP) rated The Incredible Hulk (2008) in Movies
May 9, 2019
"As far as I'm concerned, that man's whole body is property of the U.S. army."
I will defend this gem until the day I die.
The Incredible Hulk is without a doubt one of the most underrated, underappreciated film's that I have ever seen. There it is. I'm just putting it out there. Don't worry, I have my reasons that I'll get into but if you don't like this film, if you hate this film even, I encourage you to read this review. I encourage this because I hope to open your eyes to how beautiful and tragic The Incredible Hulk is.
For one, let's take it back to May 1962 when Stan Lee and Jack Kirby introduced to us, in his very own debut issue, the Hulk himself. According to interviews, Lee spoke of how this film truly captured the essence of the character and the comics. In those comics, General Thunderbolt Ross, along with the military, was always chasing Dr. Banner ever since the accident. This is portrayed brilliantly here by Louis Leterrier. I'm not a huge fan of his work but I got to give credit where credit's due.
I don't even know where to start for positives because there's so many. For one, Edward Norton is brilliant (yes brilliant) as Bruce Banner. His performance is so emotionally subdued, filled with great sadness and longing. They even show him suffering from PTSD, which has never been touched on with this character on film. Really great stuff on Norton's part. We also get to finally see Bruce Banner be a scientist. We've seen it in the future films sure, but not to this extent. Bruce is working with scraps, using solely his wits, in a third world country . . . just like in the comics.
The story of Hulk is really a tragic love story. I got serious King Kong vibes from the similar dynamic here and it's beautiful. The chemistry between Banner and Elizabeth Ross is great. It's so believable; two people put in an impossible situation and making it work. That's love.
Hulk's character is so well realized here. He suffers from PTSD like I said, but the actual monster himself is perfect. They even throw in a bit of a horror vibe for the first Hulk-out scene. Oh yeah, there's numerous Hulk-out scenes!!! There's so many great omages to the comics as well and I loved every bit of it.
Lastly, looking at it from a technical side it's great. The cinematography is extremely well done and a total feast for the eyes. The pacing is great and goes by like the snap of Thanos himself. The editing is top-notch. The soundtrack by Craig Armstrong is one of my favorites of all time and is so iconic and beautiful. Finally, there's a serious tone. FINALLY. There are some well incorporated jokes but unlike some other Marvel films, it's not overbearing.
As for negatives, they are almost none to nonexistent. Really just nitpicks. The taxi scene is a bit unrealistic and silly. It's the only scene of humor that felt a bit forced and silly, yet I can easily ignore it. But since this is an analysis, I had to mention it. Also, unlike Ruffalo's Hulk, Norton's Hulk doesn't look very similar to Norton himself. Again, purely a nitpick.
Overall, I absolutely love The Incredible Hulk
The Incredible Hulk is without a doubt one of the most underrated, underappreciated film's that I have ever seen. There it is. I'm just putting it out there. Don't worry, I have my reasons that I'll get into but if you don't like this film, if you hate this film even, I encourage you to read this review. I encourage this because I hope to open your eyes to how beautiful and tragic The Incredible Hulk is.
For one, let's take it back to May 1962 when Stan Lee and Jack Kirby introduced to us, in his very own debut issue, the Hulk himself. According to interviews, Lee spoke of how this film truly captured the essence of the character and the comics. In those comics, General Thunderbolt Ross, along with the military, was always chasing Dr. Banner ever since the accident. This is portrayed brilliantly here by Louis Leterrier. I'm not a huge fan of his work but I got to give credit where credit's due.
I don't even know where to start for positives because there's so many. For one, Edward Norton is brilliant (yes brilliant) as Bruce Banner. His performance is so emotionally subdued, filled with great sadness and longing. They even show him suffering from PTSD, which has never been touched on with this character on film. Really great stuff on Norton's part. We also get to finally see Bruce Banner be a scientist. We've seen it in the future films sure, but not to this extent. Bruce is working with scraps, using solely his wits, in a third world country . . . just like in the comics.
The story of Hulk is really a tragic love story. I got serious King Kong vibes from the similar dynamic here and it's beautiful. The chemistry between Banner and Elizabeth Ross is great. It's so believable; two people put in an impossible situation and making it work. That's love.
Hulk's character is so well realized here. He suffers from PTSD like I said, but the actual monster himself is perfect. They even throw in a bit of a horror vibe for the first Hulk-out scene. Oh yeah, there's numerous Hulk-out scenes!!! There's so many great omages to the comics as well and I loved every bit of it.
Lastly, looking at it from a technical side it's great. The cinematography is extremely well done and a total feast for the eyes. The pacing is great and goes by like the snap of Thanos himself. The editing is top-notch. The soundtrack by Craig Armstrong is one of my favorites of all time and is so iconic and beautiful. Finally, there's a serious tone. FINALLY. There are some well incorporated jokes but unlike some other Marvel films, it's not overbearing.
As for negatives, they are almost none to nonexistent. Really just nitpicks. The taxi scene is a bit unrealistic and silly. It's the only scene of humor that felt a bit forced and silly, yet I can easily ignore it. But since this is an analysis, I had to mention it. Also, unlike Ruffalo's Hulk, Norton's Hulk doesn't look very similar to Norton himself. Again, purely a nitpick.
Overall, I absolutely love The Incredible Hulk
Chris Sawin (602 KP) rated Scream (2022) in Movies
Jan 29, 2022
Ghostface (up until the reveal) (2 more)
The kills
Chemistry between Neve Campbell and Courtney Cox
Terrible killer reveal (2 more)
Rehashes everything from the original film.
Too meta for its own good
Movies Make Psychos More Imitative
Contains spoilers, click to show
The Scream franchise has always been this love letter to the horror genre while simultaneously embracing this self-deprecating demeanor that was meta long before it was the trendy thing for movies to do. All of the films would lay out the rules of a slasher or horror sequel while sometimes following a familiar formula, but often broke the boundaries of the stabby, blood-soaked mold it was proud to pretend to stay within the lines of.
Now, 11 years after Scream 4, Scream not only references its roots it drowns itself in the accomplishments of the previous films. The film is a huge nostalgic throwback to the first films, especially the original and Scream 4. But nearly every new character introduced in the new film is related to someone in a previous Scream film.
The film opens with Ghostface calling and playing a horror trivia game over the phone with some unsuspecting high school girl, the killer is narrowed down to once again be one of a close-knit group of friends, and the finale literally takes place in the house of one of the characters from the first film.
It’s established within Scream’s dialogue that the film isn’t a reboot or a sequel, but a requel. It brings back legacy characters to make way for new blood while staying within a formula that is almost a carbon copy of the original film. The kills are a little different, the technology is modern, and Sidney, Gale, and Dewey are all older, but this all feels too familiar to feel like a refreshing entry in the franchise.
The highlight of the film is obviously Ghostface. Roger L. Jackson, the voice of Ghostface, is the unsung and unseen hero (or villain) of the franchise. He has not only been the voice of Ghostface for all five films, but was also the voice of Ghostface in season three of the television series. We’ll ignore the fact that who the killer turns out to be has a serious height difference in comparison to whoever is running around the rest of the film, but there are some pretty brutal moments here; his leg stomp to Tara in the film’s opening, the knife through the neck scene where we see the blade go through the victim’s throat and out the side to surprisingly satisfactory results, and even a kill on the sidewalk in front of someone’s house in broad daylight.
Ghostface has his most memorable kill while using two knives in the hall of a private floor of a hospital and it’s fantastic. The original film is a personal favorite, but there are several scenes where you can see another and seemingly cheaper and less detailed mask is used (the opening scene where Drew Barrymore gets stabbed on the front lawn comes to mind). There’s none of that in the new film as Ghostface shines in absolutely every sequence until he’s unmasked.
Characters from previous films that were stabbed or shot or both, but were never shown dying on screen were rumored to appear in this film. The most notable being Hayden Penettiere’s Kirby Reed from Scream 4 and Matthew Lillard’s Stu Macher from the original. Unfortunately, the return of either character would have been more interesting than what we ended up with.
Sisters Sam and Tara Carpenter (played by Melissa Barrera and Jenna Ortega) have an interesting character connection that results in a repeating Tell-Tale Heart motivation that could finally trigger Sam losing her sanity. The twins, Mindy and Chad (played by Jasmin Savoy Brown and Mason Gooding) are arguably the most useful. Next to Jack Quaid’s performance as Richie, Jasmin Savoy Brown may deliver the best performance from the new cast members.
The aspects that make the Scream franchise scary and suspenseful is the fact that Ghostface is just a horror obsessed human much like the people watching the film from the other side of the screen. Before the killer or killers are revealed, everyone is a suspect and Ghostface can be anyone behind the mask. That sense of dread that lies within never feeling safe even around your family and best friends while simultaneously watching them get slaughtered one by one while you helplessly sit on the sidelines are terrifying concepts that would drive anyone crazy in real life.
The killer(s) in Scream are trying to claim the same kind of legacy Billy Loomis and Stu Macher received; the movie franchise based on their killings, the fame, and the notoriety. Scream is a movie formulated around another movie (the 1996 Scream) that has a movie franchise within the movie franchise (Stab) that is constantly referencing itself and other films in the genre all while trying to erase its ugliest moments. It’s exhausting and disappointing at the same time.
Ghostface is my favorite cinematic serial killer and I love the first four films (yes, even Scream 3 and Gale’s terrible bangs) despite their flaws and fluctuating factors of entertainment. I’ll see and support any new Scream film or TV series that comes along because of it. I know this new installment was successful and some enjoyed it, but it is honestly my least favorite in the franchise.
This new film feels like it’s trying too hard to be one of the original Scream films when it should have just been more of its own thing. This is something the film addresses, but originality should always triumph over retreading familiar territory; especially when it seems like its kills are being plunged into the same stab wounds.
Now, 11 years after Scream 4, Scream not only references its roots it drowns itself in the accomplishments of the previous films. The film is a huge nostalgic throwback to the first films, especially the original and Scream 4. But nearly every new character introduced in the new film is related to someone in a previous Scream film.
The film opens with Ghostface calling and playing a horror trivia game over the phone with some unsuspecting high school girl, the killer is narrowed down to once again be one of a close-knit group of friends, and the finale literally takes place in the house of one of the characters from the first film.
It’s established within Scream’s dialogue that the film isn’t a reboot or a sequel, but a requel. It brings back legacy characters to make way for new blood while staying within a formula that is almost a carbon copy of the original film. The kills are a little different, the technology is modern, and Sidney, Gale, and Dewey are all older, but this all feels too familiar to feel like a refreshing entry in the franchise.
The highlight of the film is obviously Ghostface. Roger L. Jackson, the voice of Ghostface, is the unsung and unseen hero (or villain) of the franchise. He has not only been the voice of Ghostface for all five films, but was also the voice of Ghostface in season three of the television series. We’ll ignore the fact that who the killer turns out to be has a serious height difference in comparison to whoever is running around the rest of the film, but there are some pretty brutal moments here; his leg stomp to Tara in the film’s opening, the knife through the neck scene where we see the blade go through the victim’s throat and out the side to surprisingly satisfactory results, and even a kill on the sidewalk in front of someone’s house in broad daylight.
Ghostface has his most memorable kill while using two knives in the hall of a private floor of a hospital and it’s fantastic. The original film is a personal favorite, but there are several scenes where you can see another and seemingly cheaper and less detailed mask is used (the opening scene where Drew Barrymore gets stabbed on the front lawn comes to mind). There’s none of that in the new film as Ghostface shines in absolutely every sequence until he’s unmasked.
Characters from previous films that were stabbed or shot or both, but were never shown dying on screen were rumored to appear in this film. The most notable being Hayden Penettiere’s Kirby Reed from Scream 4 and Matthew Lillard’s Stu Macher from the original. Unfortunately, the return of either character would have been more interesting than what we ended up with.
Sisters Sam and Tara Carpenter (played by Melissa Barrera and Jenna Ortega) have an interesting character connection that results in a repeating Tell-Tale Heart motivation that could finally trigger Sam losing her sanity. The twins, Mindy and Chad (played by Jasmin Savoy Brown and Mason Gooding) are arguably the most useful. Next to Jack Quaid’s performance as Richie, Jasmin Savoy Brown may deliver the best performance from the new cast members.
The aspects that make the Scream franchise scary and suspenseful is the fact that Ghostface is just a horror obsessed human much like the people watching the film from the other side of the screen. Before the killer or killers are revealed, everyone is a suspect and Ghostface can be anyone behind the mask. That sense of dread that lies within never feeling safe even around your family and best friends while simultaneously watching them get slaughtered one by one while you helplessly sit on the sidelines are terrifying concepts that would drive anyone crazy in real life.
The killer(s) in Scream are trying to claim the same kind of legacy Billy Loomis and Stu Macher received; the movie franchise based on their killings, the fame, and the notoriety. Scream is a movie formulated around another movie (the 1996 Scream) that has a movie franchise within the movie franchise (Stab) that is constantly referencing itself and other films in the genre all while trying to erase its ugliest moments. It’s exhausting and disappointing at the same time.
Ghostface is my favorite cinematic serial killer and I love the first four films (yes, even Scream 3 and Gale’s terrible bangs) despite their flaws and fluctuating factors of entertainment. I’ll see and support any new Scream film or TV series that comes along because of it. I know this new installment was successful and some enjoyed it, but it is honestly my least favorite in the franchise.
This new film feels like it’s trying too hard to be one of the original Scream films when it should have just been more of its own thing. This is something the film addresses, but originality should always triumph over retreading familiar territory; especially when it seems like its kills are being plunged into the same stab wounds.