Scream 4

2011, 15, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox, Emma Roberts

1996 saw Wes Craven mould his love of the slasher movie into an all-knowing modern classic that followed the text book but still provided shocks. Its sequel followed a year later packing enough jumps and standout set-pieces to be a worthy adversary to the original. The completion of the trilogy in 2000 may have sapped in originality, but managed to achieve something rarely seen: a truly enjoyable horror trilogy. Ending it there seemed to be the right move, all things considered: Scream 1 and 2 scriptwriter Kevin Williamson had quit whilst ahead, not content with just forming a retread of previous successes. Flashforward 11 years later and let me introduce to you Scream 4, the completely unnecessary but hugely watchable franchise-entry; its Ghostface for the YouTube generation. Campbell, Arquette and Cox all return to Woodsboro for the release of Sidney’s book based on her (scarily regular) dice with death, only to find yet another masked murderer targeting the highschool friends of her niece, Jill Roberts (played by Emma Roberts AKA Julia's niece).

In typical Scream fashion, the opening scene embeds in the memory, this time around focusing on establishing Screa4m as zanily tongue-in-cheek; something not to be taken seriously, but not to underestimate either. Seeing Sidney, Dewey and Gale back on the big screen is an oddly pleasant feeling and – although irrationality overrules – you root for them, no matter what. Supporting characters help things move along nicely too, namely Hayden Panettiere’s feisty Kirby. Not only is the gore-factor upped (note the 15 certificate), but the comedic one too. Arguably the funniest entry thus far, Scre4m also boasts the most leftfield shocking climax too. What makes the film feel whole though is how the continuity from the original trilogy extends the authenticity of the universe (the film club at Woodsboro hold an annual Stab-a-thon), as well as our universe (when told she is going to be watching Saw IV, a female character tells her friend she cannot stand torture porn – she may as well be Craven in a wig). It is very easy to dismiss Scre4m as just another flimsy sequel, but this is anything but; the world may not have been screaming out for another, but with any luck, you will be after viewing this.

3.5/5

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Scream 3

2000, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox Arquette, Patrick Dempsey

More of the same in this third outing which sees Campbell, Arquette and Cox back to nettle yet another incarnation of the iconic Ghostface killer, who this time around sets his sights on the cast of Stab 3, forcing Sidney from isolation. As far as Part 3’s go, this is a damn good attempt, staying in tune with the original and its sequel whilst adding its own fresh layer to the fore. The scare factor is noticeably reduces, but the aptly named Ehren Kruger’s script – whilst not as tongue-sharp as previous writer Kevin Williamson’s – manages to be smart enough for its own good at the best of times; additionally, Craven deftly and skilfully shoots inspired set-pieces (Sidney being hunted within the Hollywood set of her own home from the original Scream). What is lacking however are the number of engaging characters previously killed off (one of who returns in a nice touch), but the returning cast are always a welcome presence. It is usually rare for a horror franchise to still shock third time around, but that Scream 3 does after putting everyone possible into the spotlight for killer. The Scream films extend themselves from the horror and the spoofing of its own conventions to become avariation of the classic ‘whodunit’ plot. Talk of this film completing the trilogy within the film does cause an eye roll knowing that Craven’s Scream 4 – released a whole 11 years later – hit cinemas a few weeks back. However, a poignant, yet unnerving ending may leave you screaming for more.

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Scream 2

1997, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox, Liev Schreiber

The joy of the original Scream lay in the fact that it was a mock-up of the convention it was successful in being. More of the same then in Scream 2 which focuses on the tropes every sequel adheres to, including the fact that they rarely surpass the quality of the original. Although this may be true here, Wes Craven’s follow-up is by no means a disaster. In fact, it is a highly enjoyable watch that features more jumps and tense-ridden scenes (look no further than the moment where Sidney must crawl over an unconscious Ghostface killer to escape a crashed car). Beginning with an opener not quite as memorable, but as effective and tongue-in-cheek as number one, Scream 2 reunites the survivors of Woodsboro two years later as a copycat killer decides to leave victims lying around fresh after the release of Stab, the cheesy film based on the Woodsboro killings. The Scream film’s strong points are the engaging characters and with a longer running time here, there is more opportunity for interaction between these creations (most entertaining being Cox's Gale and Jamie Kennedy's Randy). There are moments which drag, however with passable performances all round, a slick script (the unsung hero, Kevin Williamson) fit with deft direction and a genuine surprise climax, it is no wonder something so grisly can be so fun. Fittingly, it doesn’t manage to surpass the first one – but hey, maybe that’s the point!

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Scream

1996, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Skeet Ulrich, Courtney Cox

The slasher film is a difficult genre to nail and yet countless filmmakers take a stab at it hoping that they will provide their audience with a fresh original take that they probably do not need, but will enjoy. After a slew of horror hits dating as far back as 1972, including The Last House on the Left, The Hills Have Eyes and A Nightmare on Elm Street (all of which have been tellingly remade), Wes Craven ingeniously adapted his love of all things bloody into a fresh groundbreaking take on that same genre. The plot is simple: a killer who has watched one too many scary movies terrorises teens of Woodsboro exactly one year after the particularly gruesome death of the mother of Sidney Prescott (Neve Campbell). And so it is, Scream in it all its gruesome glory, doesn’t reinvent, more re-establishes the rule book. Amongst the slashing, there is a massive element of comedy: Jamie Kennedy’s horror-geek Randy runs through the dos and don’ts whilst watching Carpenter’s Halloween. The film verges on spoof without ever reverting to silly tactics; it is through the references to film’s past that the believability of these characters (Arquette’s hapless cop; Cox’s vivacious reporter) is reinforced and the tension raised. It is for this reason (combined with the iconic Ghostface) that Scream has emerged and will continue to be something of a modern horror classic. The film spawned three sequels, the fourth hitting cinemas last week 11 years after Scream 3.

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Hot Tub Time Machine

2010, 15, Directed by Steve Pink
Starring: John Cusack, Rob Corddry, Clark Duke, Craig Robinson

John Cusack is a crowdpleaser. Working his way through teen comedies, a few mystery dramas and disaster flicks, he manages to make something not-so-great into watchable fodder. Hot Tub Time Machine, much like his purely awesome Grosse Pointe Blank (also directed by Steve Pink) contains the theme of reflection about times gone past. Only, this is about a million times crazier. A group of disbanded friends reunite when one attempts suicide. Heading to a hotel they stayed at during a particularly memorable time of their lives, they get into the hot tub – only to be thrown back to 1986. Pink’s nostalgic offering is filled with enough raunch and chucklesome moments to direct this towards a contemporary audience, as well as long-time Cusack fans. Add Crispin Glover to proceedings as a one-armed bellboy whose 80s version still has his limb intact and you will be guaranteed a silly amount of hilarity-filled set-pieces in which you wait for the inevitable. As long as you are seeking something not in any way taxing and completely removed from reality, that will make you grin like a child (who the hell isn’t?), then have a soak in this hot tub. When all is said and done however, the feeling remains that without Cusack’s presence, this would barely be watchable.

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Source Code

2011, 12, Directed by Duncan Jones
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffery Wright

Duncan Jones deserves recognition. Known at the time as ‘David Bowie’s son’, his 2009 debut Moon sent the science-fiction genre soaring sky-high after something of a lull. Not only that, but it was one of the most genuinely gripping and original offering of that year. Now he’s returned to earth, taking a script written by Ben Ripley and managing to acquire Sam Rockwell-standard from Mr. Jake Gyllenhaal himself. And being handed a bigger budget, cast and room to work with luckily hasn’t made Jones tone down on the confusion levels either. The plot sees Colter Stevens wake up on a train that explodes 8 minutes later. Only, Colter is part of a scheme that enables him to relive those 8 minutes time and time again so he can uncover the culprits behind the explosion. Think Groundhog Day meets Inception.

It goes without saying that Gyllenhaal – on-screen practically for the entire 94 minutes – convinces in what could have been an overtly serious role. Through his characterisation of Colter, he conveys confusion and fear of a man who knows he is about to be blown up (again) with a dash of charm and humour. These moments are most prominent when he shares the screen with Michelle Monaghan’s Christina. In short, the Kiss Kiss, Bang Bang star is a revelation. Repeatedly acting out pretty much the same scene in the same place is no mean feat, yet one that she consistently brings something new to through the charisma she exudes. She is a calming presence amidst the chaos. Knowing her inevitable fate on the doomed train aids Source Code in such a way that when Colter is adamant to discover if he can save her from an explosion that has already occurred, you understand his intentions. Vera Farmiga also delivers on a potential one-note performance as the officer who cannot tell Colter too much when he returns to the present.

With Source Code being a time-bending out-and-out science fiction offering, it is suffice to say that multiple viewings are required and will most probably enhance the experience. The film, like Moon, is gripping and original. However, unlike Jones’ debut, the climax – although hitting all the right notes – seems a tiny bit muddled for the sake of debate. This is only a minor flaw to what is a grand system. The film after all is what you make it; and I make it another boundary-pushing success for Jones. My money’s on David Bowie’s son making it a hat-trick.

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Valentine's Day

 
 

2010, 12, Directed by Garry Marshall

Starring: Ashton Kutcher, Jennifer Garner, Bradley Cooper, Julia Roberts

 Assembling a mammoth cast of stars for a film that focuses on one particular time of the year is becoming something of a necessity in Hollywood, whether it is for money or fun. Love, Actually proved this could be both. Valentine’s Day struggles to continue this notion. Aptly set over the period of one day, we are intermittently introduced to a straggle of characters and their personal 14^th February. Cue Julia Roberts here, Jessica Biel there and Jennifer Garner everywhere. Granted, the stories are easy to follow, and agreed, some of the character interaction remains somehow unexpected (a reveal near the film’s climax manages to tug at the heart strings). But the problem with Valentine’s Day is that there is an attempt to fit too much in to a running time that is already half an hour too long. With the A-list cast at his feet, Garry Marshall does his hardest to humanise these characters and their situations, but ultimately it does prove difficult to look past the fact that Ashton Kutcher, Bradley Cooper and Jessica Alba are simply playing themselves for a large pay cheque. Nowhere near as bad as everyone makes out however…

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