Scream Uncut 1996 Review
Scream Uncut 1996
Directed By: Wes Craven
Starring: Neve Campbell, Courtney Cox, Rose McGowan
Review by Luisito Joaquín González
When I was growing up on the mean streets of London, I never really shared my love for slashers with the kids that I associated with. I guess it’s because it can be considered a strange hobby. Why do I spend so much money and effort tracking down these rarities? I mean they hardly ever offer any artistic reward. It’s also a topic that can be somewhat misinterpreted. Does the politically correct brigade think it is right for someone to watch horror movie after horror movie? Nowadays I couldn’t care less, but back in those times, it wasn’t something that I particularly wanted to broadcast.
When my girlfriend of the time came around and told me that she’d just seen Scream, she unwittingly opened a crammed can of worms that she probably regrets to this day. I revealed to her my darkest secret – my love of the humble slasher – and took great pleasure in setting up a planned viewing schedule for the next twenty years.
I had an excuse from then on to roll out the stalk and slash collection with lines like, ‘It’s just like Scream’ or ‘Remember, you said that you loved Scream…’! Now you know why we are no longer in contact…
We all know by now that Wes Craven’s tribute to the slasher genre reinvigorated the cycle and gave it another gallon of petrol in the tank that would keep DTV merchants in business long after its day of release. Looking back though after all these years, is it really that good? Does it deserve to share the stage with Halloween?
A small Californian town that is still reeling from a ruthless murder a year earlier becomes the target of a masked killer. A group of youngsters realise that the psycho is playing games that follow the rules set out in the movies. Do they have enough knowledge of the guidelines to know what they need to do to survive?
All great horror movies need the right opening sequence. It’s an unwritten rule. How many truly scary films have you seen that don’t start with an edge of your seat intro? That’s right, there are none that I can think of either. Scream raises the bar from that terrific and startling launch scene; – and the first victim to get slashed is a seasoned Hollywood star. I remember being intoxicated on my initial viewing, especially with the line, ‘I want you to drive down the street to the Mackenzie’s house‘. It was like all my secret passions were being rolled out for examination for a new generation and it captivated me.
Whilst we are on the subject of rules, Scream is notorious for underlining the majority of them and twisting them inside out to make good use of their repetition. Almost every victim here puts up a good fight with the antagonist and none of them fall foul of making the usual bad route of escape decisions. What sets Scream apart from the likes of Return to Horror High and April Fool’s Day, which also attempted to mock the trappings, is that it pays homage with more intelligence and a higher form of cinematic energy that only an adept horror craftsman could have provided. Craven uses every trick in his repertoire and let’s none of them go to waste. Some of the photography here, like the shot of Sidney’s house in the sunset, is breathtaking and I loved the bouncing movement in the looming tracking shots. Despite Craven’s standing in horror as one of the greats, he is not the most consistent filmmaker and is as capable of releasing a big miss (Shocker) as he is of helming a skilled submission (Deadly Blessing). Here he finds the perfect balance of his trademarks and it’s among the best titles of his illustrious resume.
The film’s true quality is in its witty self reference and ability to take each mood to its maximum potential. The gags are fresh and don’t feel overdone, but when Scream wants to be scary, it does so with ease. There’s something foreboding about the way that the killer is always one step ahead of his intended prey and his ruthless ‘games’ take the development of his victims to a new level. These guys don’t want to die and through good acting and smart scripting, you share their suffering. During the first sequence, Casey is dragged to her doom whilst still clenching her phone. When her parents return to the smashed up abode, the first thing they do is attempt to get on the line to the police. What they hear is the dying breath of their daughter as she is pulled along the ground, because she is still connected. It’s a grimly disturbing set-piece and sets a tone that plays in stark contrast with the lighter moments. The fact that a recognised movie face was the one getting slaughtered gives Scream an ‘anything can happen’ vibe and it continues with its panache for breaking limitations. Newcomer Kevin Williamson’s script is sharp, but is guilty of perhaps expecting a tad too much from some of its gimmicks. With that said, it is never feels underwritten or lacking in continuity.
The performances are excellent throughout, with a career best (in movies) for Courtney Cox and a solid turn from all of the youngsters. I especially appreciated Matthew Lillard’s ‘break all boundaries’ portrayal and Skeet Ulrich handled the different depths that we were meant to see in his character with finesse. What I didn’t like about the movie and it is perhaps due to personal taste was the conceited MTV style of its charecterisations. I much prefer a set up like Freak or Coda that casts its characters as normal everyday folk, because it makes the terror seem much closer to home. Take a walk through your local town on a Saturday afternoon, how many rich, beautiful people do you see? Are they the type that fill you with sympathy? Can you truly relate to someone with a sugar daddy and a smug air of arrogance? Maybe it’s because I am a working class kid that grew up in worst parts of London, but personally I prefer to go for realism. I can’t remember the last time that I felt true bonding with a modern day slasher heroine. Perhaps I am just getting old.
Scream’s comedic style hasn’t aged well and it’s interesting that whilst being the launch pad for the modern day slasher, it suffered the same fate as it’s forefather, Halloween and was blatantly copied to death. After not watching this for ten or more years, the movie had lost some of its impact, but that’s only because I have seen all these tricks more recently in poorer clones. Scream still made my heart beat rapidly, which is a feeling that I’m always looking for, but struggle to find in the newer flicks that I watch. Perhaps my biggest regret is that I never saw this at the cinema when it was first released, because I can imagine it being an absolutely amazing experience, especially for true fans of the genre like us.
This is still a SLASH above when it comes to horror films and shows what can be done with the slasher genre if it is well funded and competently produced. Buy some popcorn and a few beers and give it another blast. I’m glad that I did.
Final Girl √√