Directed by Wes Craven
Distributed by Anchor Bay Entertainment
It may be a new decade, but the rules haven’t changed all that much. That’s not to imply that Scream 4 doesn’t tackle certain modern-day genre issues with all the sharpness of Ghostface’s blade, but it’s hard to come away from Wes Craven’s fourth entry in the ongoing slasher series without feeling like the film should’ve gone a bit further.
After all, the groundwork is here. From a killer ‘remaking’ the events of the original and deliberately tweaking the formula along the way to an increased sense of brutality throughout his body count. Here’s a madman honed on the modern genre – so much so that his entire repertoire is comprised of mainstays that have come to define the last decade of horror filmmaking (for a Scream film, the kills are quite bloody). That the story isn’t quite as fresh as it once was is part of the point this time around, as so perfectly surmised in an opening scene that acknowledges the challenge of one-upping the now famous opening death scene from Scream while scrutinizing the glut of Saw/Hostel-style films that surfaced in the wake of this then slasher trilogy.
But Kevin Williamson’s script isn’t all hip dialogue and clever movie references. One of the most inspired aspects of Scream 4 is its derisive approach toward today’s youth. When our killer’s motivation is revealed, it’s less about a believable motivation and more of an exaggerated take on today’s headlines. 2011 is a time in which teenagers live their lives on social media, blog their high school experiences and, in some instances, vie desperately for fifteen minutes of fame. Shortly after Scream 4 hit theaters, there was a news headline about a young girl who got knocked up specifically so she could audition for MTV’s “16 and Pregnant”. With that in mind, this climax feels relevant, particularly biting and spot-on.
Any good slasher movie needs a healthy dose of atmosphere to succeed, and Scream 4 is no exception. Jettisoning the cold and alien Hollywood-based setting of the dismal third film, the fourth installment returns to Woodsboro, California, and Craven (along with DP Peter Deming) makes the most of this ‘Anytown USA’ setting, creating a community fraught with the memory of the fifteen-year-old bloodbath. The adults want to forget about it and move on while the kids romanticize the details. They’ve also allowed a series of endless “Stab” sequels to dilute their connection to the past, interpreting these events not as real-life murders but as the events in a sleazy string of slasher movies instead. It’s not an unfortunate event to them as much as it’s a joke.
Keeping with the theme of one-upping the original, Scream 4 boasts a much larger body count. And Craven brings his deft touch to Ghostface’s attacks, staging some particularly suspenseful setpieces for our resident slasher. Of particular highlight is the Rear Window-ish moment where some misdirection results in two girls watching helplessly as their friend is brutally killed across the street. There’s also the atmospheric trouncing of a smarmy literary assistant (Allison Brie) in a conveniently desolate parking garage and a playful stalk-and-slash bit with Gale Weathers set against the backdrop of a “Stab-a-Thon” movie festival. Frustratingly enough, the film blows one of its nastiest and most unsettling moments (in which an unlucky cop is stabbed in the brain) by delivering a horrendous one-liner involving Bruce Willis. Assuming we have Ehren Kruger and his 11th hour “re-write” to thank for that howler.
If there’s something that doesn’t work here, it’s the sort of over-sized cast load that leaves nearly every role feeling somewhat half-baked. Scream 4 is torn between devoting screen time to the ‘old guard’ of Neve Campbell, David Arquette and Courteney Cox and the ‘new blood’ consisting of Emma Roberts, Hayden Panettiere (who steals every scene she’s in), Rory Culkin, Nico Tortorella and Erik Knudsen. The end result offers a healthy dose of likable characters and good performances, but it’s trying so hard to be a sequel and a remake that the end result leaves everyone a bit underused (the deleted scenes rectify this a bit, and I would’ve relished an extended cut in addition to the theatrical presentation).
Scream 4 also features a tacked-on hospital-based finale that wreaks of studio interference. The rumor is that Williamson’s original story involved the killer getting away scot-free, which would then be a lead-in for a Scream 5. It’s unclear as to why this wasn’t utilized, considering a bleaker, more nihilistic ending would’ve been the perfect capper to a movie that clearly has some disdain for today’s youth. But the current finale feels somewhat unsatisfying – especially when the road leading to it was so much fun. As it stands, it works in a certain slasher movie way, but the hospital dénouement requires the viewer to suspend a considerable amount of logic (How was the killer planning on escaping? Or even pinning the murders on someone else?) in order to swallow it. Thankfully the movie ends on a delightfully cynical note regardless, which goes a way toward making up for the sluggish final fight.
Scream 4 dials its way onto Blu-ray, and the transfer is nothing short of stunning. This 1080p disc is a real eye-popper in the way it effortlessly handles black levels and shadow detail. No crush whatsoever, which is wonderful considering this film’s reliance on darkness. The image retains so much detail, even in the blackest scenes, that this might look better than either time I saw the film screened theatrically. Details excel throughout the transfer, day or night, ranging from the obvious face/hair textures to stellar detail on rug fibers and foliage. Skin tones look great, and colors pop off the screen. Rest assured, there’s no digital chicanery amiss here … this is a gorgeous, reference-quality disc.
Audio-wise, this is a strong 5.1 DTS-HD Master Audio track. There’s a lot of elements to handle throughout Scream 4, from dialogue to music to sound FX, etc., and this lossless track works them all with aplomb. But it doesn’t quite satisfy as much as it does on the video front. The music is potent, but it’s lacking a little ‘pop’ to bring it fully to life. The most obvious example being over the film’s title card – set to “Something to Die For” by The Sounds. In the theater this was the focal point of the title card, but it’s buried beneath the sound FX on this home video mix. Still, dialogue remains pitch-perfect and Ghostface’s knife stabs sound really nasty. It’s an excellent track, even if I wouldn’t give it a perfect score to match the PQ.
The extras are lots of fun for fans of this one. First up is a really solid audio commentary with director Wes Craven and stars Emma Roberts and Hayden Panettiere. Neve Campbell dials into the call for about 45 minutes in the middle, and the four participants have a relaxed, yet interesting discussion. Beyond that lie 26 minutes of deleted/extended scenes, and while there’s a clunker here and there, I wish we would’ve been given an extended version of Scream 4 as the majority of these would’ve fleshed out all the characters a bit more. In addition to that is the nasty aftermath of the opening murder scene – really nice to finally see that one! A nine-minute gag reel is very funny stuff and the ten-minute ‘making of’ is worth a look, if nothing special. Lastly, there’s a video game promotion (and this game remains unavailable on my Droid X, boo!). You also get a DVD and digital copy here, too.
Scream 4 is a lot of fun, and its story, while flawed, is well orchestrated and with plenty to say (not only about horror films, but about society in general). It arrives on Blu-ray with incredible PQ and very solid AQ. The extras may not be a deal-breaker for those on the fence about this purchase, but the deleted scenes and audio commentary are more than worthwhile for any Scream fan. It’s a solid film, one that’ll likely nab a spot on my ten best of the year. A slasher movie with a message, it comes from me as recommended.
4 out of 5
3 out of 5
Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility
Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita
Directed by Kobun Shizuno and Hiroyuki Seshita
The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.
The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.
The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.
From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.
The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.
Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.”
The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.
Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.
Satan’s Cheerleaders Blu-ray Review – Sacrifice This Snoozer At The Altar!
Starring Jack Kruschen, John Ireland, Yvonne De Carlo, Jacqueline Cole
Directed by Greydon Clark
Distributed by VCI
The ‘70s. Satanism. Sultry cheerleaders. Sex appeal. With these tools nearly any low-budget filmmaker should be able to turn out something that is, at the very least, entertaining. The last thing a viewer expects when tuning in to a film called Satan’s Cheerleaders (1977) is to be bored to tears. But that is exactly the reaction I had while watching director Greydon Clark’s wannabe cult comedy. Even on a visual level this film can’t be saved, and it was shot by Dean Cundey! No, unfortunately there isn’t a cinematic element in the world that can overcome a roster of bad actors and a storyline so poorly constructed it plays like it was written on the day. The only saving grace, minor as it may be, is the casting of John Ireland as Sheriff B.L. Bubb (cute), a hard-nosed shitkicker who adds all the gravitas he can muster. But a watchable feature cannot be built upon the back of a single co-star, as every grueling minute of Satan’s Cheerleaders proves.
The cheerleaders and jocks of Benedict High School rule the campus, doing what they want, when they want, with little else on their minds except for The Big Game. Their belittling attitudes rub school janitor (and stuttering dimwit) Billy (Jack Kruschen) the wrong way. What they don’t know is Billy is (somehow) the head of a local Satanic cult, and he plans to place a curse on the clothes (really) of the cheerleaders so they… suck at cheerleading? Maybe they’ll somehow cause the jocks to lose the big game? When Billy isn’t busy plotting his cursed plans, he spies on the girls in the locker room via a hidden grate in the wall. I guess he doesn’t think being a sexual “prevert” is fair trade enough; might as well damn them all, too. Billy has his own plans to kidnap the girls, for his Lord and Master Satan, and he succeeds with ease when the girls’ van breaks down on the highway; he simply offers them a ride and they all pile in. But when Ms. Johnson (Jacqueline Cole) gets hip to his plan the two tussle in the front seat and Billy winds up having a heart attack.
The squad runs off in search of help, coming across the office of Sheriff B.L. Bubb (John Ireland), who, as the name implies, may be a legit Satanist. Bubb invites the girls inside, where they meet his wife, Emmy (Yvonne De Carlo), High Priestess of their quaint little satanic chapter. While the girls get acquainted with Emmy, Bubb runs off to find Billy, who isn’t actually dead. Wait, scratch that, Bubb just killed him for… some reason. The girls figure out things aren’t so rosy here at the Bubb estate, so they hatch an escape plan and most make it to the forest. The few that are left behind just kinda hang out for the rest of the film. Very little of substance happens, and the pacing moves from “glacial” to “permafrost”, before a semi-psychedelic ending arrives way too late.
“Haphazard” is one of many damning terms I can think of when trying to make sense of this film. The poster says the film is “Funnier Than The Omen… Scarier Than Silent Movie” which, objectively, is a true statement, though this film couldn’t hope to be in the same league as any of the sequels to The Omen (1976) let alone the original. It is a terminal bore. Every attempt at humor is aimed at the lowest common denominator – and even those jokes miss by a wide berth. True horror doesn’t even exist in this universe. The best I can say is some of the sequences where Satan is supposedly present utilize a trippy color-filled psychedelic shooting style, but it isn’t anything novel enough to warrant a recommendation. Hell, it only happens, like, twice anyway. The rest of the film is spent listening to these simple-minded sideline sirens chirp away, dulling the enthusiasm of viewers with every word.
A twist ending that isn’t much of a twist at all is the final groan for this lukewarm love letter to Lucifer. None of the actors seem like they know what the hell to be doing, and who can blame them with material like this? I had hoped for some sort of fun romp with pompoms and pentagram, like Jack Hill’s Swinging Cheerleaders (1974) for the Satanic set, but Clark provides little more than workmanlike direction; even Cundey’s cinematography is nothing to want on a resume.
Viewers have the option of watching either a “Restored” or “Original Transfer” version of the 1.78:1 1080p picture. Honestly, I didn’t find a ton of difference between the two, though the edge likely goes to the restored version since the title implies work has been done to make it look better. Colors are accurate but a little bland, and definition just never rises above slightly average. Film grain starts off heavy but manages to smooth out later on. Very little about the picture is emblematic of HD but given the roots this is probably the best it could ever hope to look.
Audio comes in the form of an English LPCM 2.0 track. The soundtrack sounds like it was lifted from a porno, while other tracks are clearly library music. Dialogue never has any obvious issues and sounds clear throughout. Subtitles are available in English SDH.
There are two audio commentary tracks; one, with director Greydon Clark; two, with David De Cocteau and David Del Valle.
A photo gallery, with images in HD, is also included.
- Audio commentary with director Greydon Clark
- Audio commentary with filmmakers David De Cocteau & David Del Valle
- Photo gallery
Although the title is enough to reel in curious viewers, the reality is “Satan’s Cheerleaders” are a defunct bunch with little spirit and no excitement. The ’70s produced plenty of classic satanic cinema and this definitely ain’t it.
A Demon Within Review – Familiar Possession Beats To A Dreary Tune
Directed by Ayush Banker and Justin LaReau
Possession flicks don’t often hold a long shelf life in the horror community, with Ayush Banker and Justin LaReau’s A Demon Within suggesting why. Hands emerging from the darkness, exorcisms, anxious priests – you’ll see it all again as you’ve seen it before. Early scenes glimmer a polish unlike equal indie products, but that’s just the devil playing tricks on you. Once the film’s main satanic takeover begins, cursing teens and stony glares become the been-here-before norm. Low-budget filmmaking isn’t an immediate detractor like some high-society snobs may believe, yet it’s surely no excuse either. Today’s review being an example of both mindsets.
Charlene Amoia stars as Julia Larsen, a divorcee who moves into Crestwick, Illinois looking for a clean start with daughter Charlotte (Patricia Ashley). Their dusty toucher-upper is a quaint, aged farmhouse in the middle of nowhere, complete with electrical issues and weird noises at night. Nothing to worry about, right? Julia’s focus is better directed towards town doctor Jeremy Miller (Clint Hummel), who she immediately hits it off with (after almost hitting *him* with a car). She’s eating stir-fry at his place one night, all things going well, and that’s when it happens – Charlotte is possessed by an evil force who enacts its sinister plan. Charlotte may physically be present, but only as a vessel for “Nefas.”
Without hesitation, A Demon Within lays predictable groundwork as small-town haunters have for decades. Charlotte’s new home is already infested with a spiritual squatter, Jeremy bottles (and drinks down) a blemished past that’s exposed too late, there’s plenty of characters sneakin’ up on one another – never with much “oomph.” Charlotte’s teeny-bopper voice drops to truck-driver deep at the height of possession, but it’s a distracting sound design that alone strikes little fear. Serious scares are attempted, be it a pitch-black basement slashing or Charlotte’s hide-and-seek pounce, just never delivered. An inconsequential failure to unite tone and atmosphere.
Performances are…well…rigid, to say the least. Amoia and Ashley strike a surprisingly likable chemistry as living humans, but once Ashley goes demonic, chemistry bottoms out. The way A Demon Within positions Charlotte when possessed is utterly dull and undefined; Ashley playing an unenthusiastic harbinger of death. It’s bad enough that Hummel’s tortured doctor masters the emotional range of Mona Lisa and the town’s pastor is hardly a scene stealer – but to have a demon be so vanilla (without a side of nuts, no less)? Getting past the limited lighting and Charlotte’s manly demon voice is hard enough, let alone her mostly relenting threats.
Making matters worse, the film’s third act is hardly a religious salvation that flows with ease. I had more fun watching Julia stammer over pizza and beers with Jeremy than their final fight against ghastly hellspawns. The truths of Jeremy’s past leak out in flashback form, only to reveal his stubborn inability to comprehend one’s own possession encounter in the very house Julia bought (useful information, eh?). The local priest shows up in the nick of time, a few cutaway jolts attempt cheap thrills, and some holy water mucks up an old painting – but again, minimal notability. Er…not even minimal? Shaky last-minute framing makes it hard to even notice the touch-ups to Charlotte’s face that signify her unholy imprisonment, even worse than blackened CGI mists.
A Demon Within tries, fumbles, and tries some more, but it’s best treated as a reminder of better exorcism stories that exist elsewhere. Even something like The Vatican Tapes is an improvement over this possessive redundancy, hokier than the honky-tonk love song that plays atop a pizza-chain flirt scene. There’s something to be said about getting out and creating original horror, but herein lies the problem – this ain’t *that* original. With harsher scares and tension, such a fate could be ignored. As-is? It’s hard to see past anything more than a January release placeholder.
A Demon Within is a seen-it-before possession thriller that brings nothing new to the conversation. Not the worst, but also not a “hidden secret.”
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