SCREAM

While it isn't a total slam-dunk, this new 'Scream' certainly delivers in many of the ways one would hope. A lovely balance between horror and humour is maintained, especially when married with its necessary meta-commentary on the horror genre. The original 'Scream' pulled on tropes and references from the proceeding decades of horror cinema. For this new 'Scream', the urtext is the original film itself, as seen through the in-movie universe franchise 'Stab'. Perhaps the most satisfying aspect of this new film is its understanding of its own pointlessness. There's no real reason for a new 'Scream' film, but this very fact becomes the central conceit of the film itself - to lampoon the insincerity of the nostalgia-driven reboot craze, the ways in which it has succeeded and failed, and the ways in which fandom itself has become an uncomfortable, petulant force. This kind of meta self-awareness could have fallen flat, but it's done with such irreverence and speciality in 'Scream' that it adds a necessary weight and purpose to the film. Even its questionable title becomes the butt of many a satisfying joke.

The 'Scream' films can't rely on their meta commentary alone though; they need a strong story with strong characters to function. In this instance, 'Scream' mostly succeeds, though the new teen characters are mostly pretty nondescript. Samantha sticks out as a de-facto protagonist because she's given the most backstory and an interesting conundrum to unravel, one that links her nicely to the original cast. Much like 'Scream 4', 'Scream' suffers from a first act that takes a bit too long, weakly-written teen characters and an initial hesitation to go for the theatrics - but once the kills start, the film really finds its footing. Bettinelli-Olpin and Gillett follow nicely in Craven's footsteps by crafting a handsome, slick thriller that has the sheen of modern studio horror without falling into laziness. The set pieces in particular are beautifully crafted, evoking iconic sequences from previous films while adding a wicked sadism of their own.

While the cast is mostly so-so, there are some standouts. Melissa Barrera is very strong as Samantha, a Sidney Prescott-style glint in her eye of the woman at the centre of chaos being totally over this bullshit. Of the new teen characters, Jasmin Savoy Brown ('The Leftovers') really shines as Mindy, this film's Randy, with a quick wit and insatiable film knowledge. Her instant charisma lights up the screen every frame she's in, often elevating those around her. Another standout is Jenna Ortega as Samantha's younger sister Tara, constantly in the line of fire for the attacks and yet determined, strong and pissed-off.

Maybe that's the key to a successful Scream character, why actors like Jamie Kennedy, Jada Pinkett Smith, Parker Posey and Hayden Panettiere were all standouts in their respective films - that these characters know they're in a horror film, and either revel in the opportunity or would really rather be anywhere else. This is what has always made Campbell, Cox and Arquette such a winning team; both as actors and as characters, they are totally aware of the theatrical artifice of it all, and as each successive film goes on, Dewey and Gale and Sidney are progressively just more and more tired of all this rubbish. When all these elements are in harmony, this film (as in all the previous films) really sings, and with all the pieces in place, promises a balls-to-the-wall final act deserving of the series.

This latest instalment could have been a failure, could have lent more into lazy slasher and horror tropes without realising these were only part of the appeal. Instead, as all reboots/remakes/reimaginings/sequels/prequels/whatevers should do, 'Scream' takes the time to ask what we loved about the series in the first place, tries to work out the principles to achieving this, lays out its ground rules, and then either gleefully adheres to them or cheekily blows them apart. It was never going to compete with the original, but anyone who walked in expecting that is, frankly, a fool. Horror has come a long way since 1996, has gone through a number of evolutions. Hell, 'Scream' itself has gone from the genre's assessor to an acknowledged foundational classic. The role of the 'Scream' franchise has always been to interrogate that evolution. That's why Ghostface always begins with, "What's your favourite scary movie?", so the film itself can plant that question in your head, ask you to consider why, and then tear that love apart limb from limb. I would argue that the key to the 'Scream' franchise isn't just good scares and witty jokes and clever commentary. It's also a series built on passion, love and joy for horror cinema, with a tongue in its cheek but without a hint of cynicism. This is what makes the latest 'Scream' such a fun, satisfying entry into the series, even with its many flaws. It's as much a joy to watch as it was clearly a joy to make, leaving your brain whizzing with ideas and your thirst for blood adequately sated.