Scream has always been, and will always be, perhaps the most reflexive of all properties. You can call it self-referential, meta or reflexive, whatever you want that’s what it is and it’s not about to change and what’s better is that it’s not about to start apologizing for it. So that much at least is a given and should be expected and now to see how it operates within that milieu is another story entirely. I, for one, believe it does very well there.
The horror genre is living a very interesting time and we all know what ancient Chinese curses say about those. It like many other genres in film are embroiled in a perceived plague of sequels, remakes and what have you. The inherent value or lack thereof of said trend is not in question here it just is a fact. Similarly, the genre may be more recognized and known than it ever has been. Whether loved or reviled almost any horror property now is scrutinized and analyzed to the nth degree. Attendance at conventions just keeps rising. Even if you’re not a certified aficionado you have at least enough familiarity to watch this film and get what they’re driving at, regardless of if you like where it’s going.
That is said to postulate this theory: that the rules of the horror genre and whether or not you know them aren’t enough to breathe life to a new Scream. Another hook is necessary and aside from always offering commentary on the genre, which it perhaps has never done so well as it does in this film, it needs a topical hinge to cling to, as it kind of always has in the past as well. It finds that as well in this installment and that’s what elevates it just above an enjoyable piece of escapist entertainment.
This film escapes many of the trappings that other horror films fall prey to almost by definition. The cast is rock solid top to bottom and they really help pull you into the tale, as much as you can be pulled in by a film that constantly reminds you that you are watching a film, however, that has always been the most ingenious thing about the series is that the audience is perhaps never more aware of the fact that they’re watching a film than when watching a horror film so this franchise addresses that head on each and every time and shifts it out of the equation.
What this also does is de-emphasize the whodunit aspect of the narrative, which is kind of old hat in any and all films, such that you don’t see it as much anymore, but it is a staple of this series as well. Whether or not you crack the identity of the new Ghost Face is rather irrelevant in the end because after the who always comes the why and as I may have intimated above I absolutely love the why. I will not divulge that as it might inadvertently give away the who but a good motive is also very important and this film does have that indeed.
The comedic aspect of this film is also alive in full force. It is always a bit like playing with fire when trying to balance out the amount of comedy that needs to be inserted into a horror film but the balance is struck here at least to an extent. It’s there and balanced with the gory scenes enough such that you’re never jarred by the lack or pervasiveness of it. It’s omnipresence may dissipate some of the tension but not much of the enjoyment.
The only parts wherein the film falls flat is when it does stupid horror movie things. This being two instances where you’re left wondering how someone is not yet dead. It’s all well and good to have characters act stupid in the Stab vignettes so it gives you something to talk about but to fall into a tedious cliché within your actual narrative is a bit bothersome.
All told, however, Scream 4 is a very enjoyable film on a number of levels, take your pick: If you’re squeamish at the sight of blood; it’s got plenty of that and it looks great too (easily overcoming one of my pet peeves), if you like comedy there are some great jokes in there (My favorite being where the likelihood of Courteney Cox’s marriage is called into question) and if you like a little social commentary thrown in with whatever you’re watching it’s got that too.