Scream 7: Barely Escaping The Wreckage

First things first, there’s no need to relitigate the controversy behind the production of Scream 7, mainly the firing of actress Melissa Barrera. There is plenty of sentiment out there on either side of the issue, but let’s leave that discourse aside and focus on the film itself. That being said, the aftermath of that controversy is evident in the final product. Pivoting away from what was surely the original plan for this film, the next installment of the long running franchise feels haphazardly cobbled together after the fact. Either way, for better or worse, these films follow a formula and while this latest narrative may be lacking, that formula still works. Going back to Neve Campbell’s Sidney Prescott (now Prescott-Evans), the original ‘Scream Queen,’ isn’t the worst choice of character to pivot to, making her the lead as a means to give the film a sense of nostalgia, is certainly a surefire way to attract audiences. Similarly, bringing back original writer Kevin Williamson as both co-writer and director also give the film some legitimacy. However good intentions the film may have, creating about 2/3 of a decent slasher, where the film fails is its ending and its inability to put all the pieces together in a satisfying way. Though at the end of the day, when all is set and done, some will be left wondering what was the point of it all.

Absent from the events in New York City, Scream 7 finds Sidney Prescott (Campbell) having built a new life for herself in a quiet town, settling down with her husband Mark Evans (Joel McHale). Unfortunately for her, a quiet life was never in the cards as yet another Ghostface killer emerges and sets her eldest daughter Tatum (May) as their next target. Continuing to move forward from her documented traumatic past, Sidney chose to shelter her daughter from the gory details. But over time, now at the age she was when her saga started, it’s only normal for Tatum to ask questions. At this stage in their lives, this issue proved to be major hurdle for them to overcome in order for their relationship to move forward. However, it would not take Tatum very long to become acclimated with her mother’s past experience with trauma. Determined to protect her family, Sidney must once again take charge and face the past she thought she left behind in the hopes of ending the insanity once and for all. While diving into Sidney’s past is a good way to push the nostalgia angle, as her story comes full circle, the film teases audiences with what comes off as a bait and switch, dangling Stu Macher (Matthew Lillard) around as the face of the newest Ghostface operation.

Whether or not Macher is still alive remained an open question but the longer the film goes on, the less it matters. Either way, wherever a Ghostface shows up, Gale Weathers (Cox) appears, this time bringing her interns Mindy (Jasmin Savoy Brown) and Chad Meeks-Martin (Mason Gooding) along for her latest assignment. Whoever the killer (or killers) may be, they have historically shared a connection with Sidney in one way or another, therefore those in her immediate surroundings automatically move up to the top of the suspect list. As is the case with the ‘Scream’ franchise, it isn’t that simple. However, watching Sidney and Gale in action never gets old, and that dynamic has not lost a beat. Not amounting to much, these scenes merely broke up other scenes of Ghostface (or Ghostfaces) wreaking havoc on Tatum and her group of friends. Dropping bodies around her and leaving her in an increasingly danger position, eventually Sidney’s maternal instinct won out. Forcing the inevitable final showdown climax where the film puts all its cards on the table, the Ghostface reveal would be the last nail in the coffin. Without giving anything away, the reveal is likely to not go well with a large swath of audiences expecting the pieces to fit better together. Initially setting forth on a promising journey, the final destination is nothing short of disappointment, albeit one that does not completely destroy that journey (something that is or will be the biggest argument coming out of this).

Following the same formula isn’t necessarily a bad thing because if it ain’t broke, why fix it? With Scream 7, that formula still works for the most part. The problem is that beyond that formula, the film severely lacks in imagination. Another brutal opening sets the tone, while a story about generational trauma and a commentary on the cult of celebrity work as a pretense for the events here. With the franchise being not nearly as sharp as it once was, the film still delivers some decent entertainment in spite of the times catching up to it. Built upon a foundation of rehashed plot beats, the relationship between Sidney and Tatum was a highlight despite being merely a means to an end plot wise. One of many angles that could have been explored further, this is seemingly the result of a cobbled together story simply trying to check off all the right manufactured beats to get by. On the horror side of things, there is still some tension and suspense to be had, as the entry also offers up some of the goriest kills of the franchise (and exposing some to shoddy CGI).

What more can be said about Neve Campbell? Not missing a beat as Sidney Prescott, she can still take charge, making for a good lead in a film that isn’t as much about her as the promotional content may imply. Though flawed, she does help to make up for a lot of those flaws. Speaking of making up for flaws, the team of Cox, Savoy Brown, and Gooding, as Gale, Mindy, and Chad, give the film a shot of energy, with the latter two stealing scenes in limited screen time. Otherwise, cobbling together limited roles, the rest of the cast manage unchallenging material as they come and go accordingly.

Scream 7 wrangles its way through doomed circumstances to deliver a decent slasher that crumbles under the weight of expectation as it fails the landing.

still courtesy of Paramount Pictures

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.