Scream 7: Movie Review

Cast: Neve Campbell, Isabel May, Jasmin Savoy Brown, Mason Gooding, Anna Camp, David Arquette, Roger L. Jackson, Michelle Randolph, Jimmy Tatro, Mckenna Grace, Asa Germann, Celeste O’Connor, Sam Rechner, Mark Consuelos, Tim Simons, Matthew Lillard, Joel McHale, Courteney Cox
Director: Kevin Williamson

The latest entrant in the Scream slasher series goes back to its roots.

When Neve Campbell's Sidney Prescott thinks she has it all, a new life in a new town, she's shocked to once again receive a taunting call from serial killer Ghostface.

But this time, it's personal with Sidney's daughter is the one being threatened... 

Formulaic suspense, fake-outs, OTT deaths, masked killers and a general malaise pervades much of the latest Scream film, the first to see Neve Campbell return as Final Girl Sidney Prescott after she sat out the prior film.

But this Scream feels more like a whimper with the idea of Sidney taking on a new life as a suburban mom to growingly rebellious teen daughter Tatum (Isabel May) feeling like it's wasted, rather than built upon.

With original scribe Kevin Williamson back and behind the camera, as well as Campbell, you'd expect a meta-film that is full of clever twists and turns. Instead, as Sidney once again battles Ghostface, what emerges is a film that's content to make comments about how Sidney was wise to sit out the events of New York and less interested in advancing or reshaping the genre.

It starts with a pre-titles sequence set in the original Woodsboro house that's now visitable by tourists (Scare BnB, anyone?) but it's limp and obvious in its execution(s).

Messing with the idea that Matthew Lillard's Stu has returned to kill again and dabbling with the idea of deepfakes and AI, Scream 7 had real potential to ensure it was going to be killer. Instead, what emerges is largely filler, that takes nearly 2 hours to play out and has a deeply unsatisfying reveal of the final reasons for the stab-fest.

Campbell's stoic enough and it's good to see her having gone through the transition to becoming more proactive. Cox has a great entrance and little else, and the film's obsession with leaning into examining why everyone could be a suspect leaves you distinctly feeling that all of this has been done before - and better.

The whole thing lacks a freshness and feels like the franchise has fallen foul of itself (the very idea that a rewrite cost $500,000 after Melissa Barrera and Jenna Ortega dropped out is laughable given how poor it is).

If anything, while box office will probably guarantee a return, creatively, this franchise is done - it's time to stick a knife in its heart and end it for good.