Scream is the fifth installment in the popular Scream series, released in 1996. Veteran horror filmmaker Wes Craven does not direct this film for the first time but by the filmmaker duo Matt Bettinelli-Olpin and Tyler Gillett. This film features a young newcomer star, namely Melissa Barrera, Mason Gooding, Jenna Ortega, and the star cast of the old series, Neve Campbell, Courtney Cox, David Arquette, and Marley Shelton. With the horror genre that has shifted a lot, can Scream create a sensation like the first series?

Twenty-five years since the first murder by a masked figure in the small town of Woodsboro, citizens are terrorized again by the exact figure. The death toll has fallen again, and one survivor is Tara, Sam’s sister, who turns out to be the daughter of Billy Loomis (the first serial killer). Sam finally asks the former sheriff, Dewey (Arquette), to help investigate this case, so the topic gets bigger. It attracts the attention of a seasoned journalist, Gale Weathers (Cox), who is also Dewey’s ex-lover. Meanwhile, the victims continued to fall with a pattern that began to be read.

Since the opening, this film has been seen using the same formula as the previous series, where the story’s strength is through the insertion of cinematic humor. Tribute films, including the film Stab (the film adaptation of the novel), with all the theories and terms often discussed by the characters. Honestly, it’s just this (nostalgic) side that steals the show. The rest is just the filmmaker’s attempt to reverse all the previous formulas to make it look original. Is that the case? Not at all. The anticlimactic climax segment seems to eliminate all the exciting things that have been built since the beginning of the story. The formula of the story that tries to deceive the audience by guessing who the culprit is no longer makes me curious because there is not enough emotional attachment throughout the story. The point is, whoever the killer is, I don’t care, even for the victims. The threat side also doesn’t bite anymore, maybe because the story formula is just the same with a bit of variation.

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Many evoke nostalgic moments; Scream tries to make peace with today’s audience by using old elements in a new format, even though the third act feels anticlimactic. The horror trick is also the same; the filmmaker only seems to delay or speed up the jump scare moment without making anything new. Old players also don’t pick up on their stories because they are too old for this. Instead of making a “requel” (reboot-sequel) like this with a nonsensical motive, it’s better to make a real reboot with a completely new cast. “I prefer The Babadook,” Tara said at the end. Hell yes.

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His hobbies are watching films since he was a child and exploring the theory and history of film self-taught after graduating from an architectural study. He began writing articles and film reviews from 2006. Because of his experience, the writer was drawn into the teaching staff of a private Television and Film Academy in Yogyakarta to teach Film History, Introduction to Film Art, and Film Theory from 2003 to 2019. His debut book is Memahami Film (Understanding Films/2008) which separates film art as narrative and cinematic. His second book, Memahami Film (Understanding Films - Second Edition/2017), has now been published. These two books are favourite references for film and communication academics throughout Indonesia. He was also fully involved in writing the Compilation Book of the Montage Film Bulletin Vol. 1-3 as well as 30 best-selling Indonesian films 2012-2018. Until now, he still writes film reviews and is actively involved in all film productions in the Montase Film Community. Full bio can be viewed on the montase.org site.

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