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Just as 1997's Scream 2 came out merely a year after Scream's unexpected commercial success, it only took one year for screenwriters James Vanderbilt and Guy Busick and directors Matt Bettinelli-Olpin and Tyler Gillett to deliver 2023's Scream VI to capitalise on the surprising box office success of 2022's Scream. Despite the factors working against this sixth instalment - a rushed production schedule, franchise fatigue, no Neve Campbell - Scream VI is a rock-solid sequel that manages to bring something new to the table after the more nostalgia-tinged fifth movie. Horror franchises typically run out of ideas and innovation after a couple of sequels, but the returning screenwriting duo rise to the challenge here, making this the freshest and most inventive instalment since the 1996 original.
Trying to move on from the murders in Woodsboro, Tara (Jenna Ortega) relocates to New York City and enrols at Blackmore University with fellow survivors Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding). Following Tara to NYC is her overprotective half-sister, Sam (Melissa Barrera), who tries to deal with her trauma by going through several therapists. But Sam's worst fears are realised when another Ghostface killing occurs, and the sisters are unable to leave town because DNA evidence renders them persons of interest. The new suspect pool includes Mindy's girlfriend, Anika (Devyn Nekoda); Sam and Tara's roommate, Quinn (Liana Liberato); Chad's roommate, Ethan (Jack Champion); and Sam's boyfriend, Danny (Josh Segarra). Investigating the case is Quinn's father, Detective Wayne Bailey (Dermot Mulroney), who receives help from FBI agent Kirby Reed (Hayden Panettiere), a survivor of the 2011 Woodsboro murders. Also arriving on the scene is Gale Weathers (Courtney Cox), who begins her own investigation as the vicious killings continue.
Scream VI relocates the knife-slashing action from a small rural town to the Big Apple, which changes the dynamic: streets are more crowded, there's a subway system, and apartments are much smaller than spacious houses. Meanwhile, Ghostface here is more brutal and fearless, not even balking at the notion of collateral damage when Sam and Tara flee into a packed convenience store. Beneath the bloodshed, the film also sharpens its focus on what it means to live after survival. Rather than positioning Sam and Tara as traditional final girls, Scream VI explores the psychological toll of trauma, public suspicion, and inherited violence, particularly through Sam's fear that her past permanently defines her. This thematic undercurrent gives the sequel a surprising weight, distinguishing it from earlier entries that were more concerned with endurance than aftermath.
Vanderbilt and Busick do not ignore the franchise's satirical elements, with Mindy once again on hand to break down the suspect pool and what to expect from the latest killing spree. Beyond the meta commentary, Scream VI also skewers modern internet culture, as suspicious commentators and amateur sleuths spin conspiracy theories about Sam, reflecting how trauma is commodified and distorted in the age of social media. Although the satire is not as sharp as the original film's genre deconstruction, it's an effective and timely undercurrent rather than a distracting gimmick. Crucially, Scream VI also handles the whodunit aspect with a clever sense of misdirection. Vanderbilt and Busick pepper the screenplay with well-placed red herrings and character beats that make nearly everyone feel like a plausible suspect without ever tipping its hand too early, inviting the audience to theorise, doubt, and second-guess in the best possible way.
With all the fresh ideas, it's a shame that Scream VI still trots out several eye-rolling clichés, including last-minute timings (characters showing up to save someone right before Ghostface finishes the job), a verbose Ghostface killer monologue during the climax, one of murderers emerging for one last attack after seemingly dying, and silly character behaviour (one victim willingly walks into an alley at night). The Scream flicks provide meta commentary on slashers by satirising the familiar tropes, but a sequel without these clichés would be refreshing.
Bettinelli-Olpin and Gillett's slick and stylish execution again shows why the directorial pair were a perfect fit to resurrect the Scream franchise, demonstrating a robust confidence behind the camera that manifests in several unforgettable set pieces. The aforementioned convenience store encounter, complete with Ghostface using a shotgun for the first time, is an early taste of what's to come. Scream VI also features a tense ladder escape between apartment windows and a subway stalking sequence, both of which showcase some of the franchise's most meticulously crafted, white-knuckle suspense to date. The heightened gore complements the raised stakes, with practical effects and precise choreography making Ghostface's attacks feel visceral and impactful. Furthermore, the directors capably balance humour, brutality, and suspense, with several moments of levity to ensure the movie does not feel too grim.
Iconic franchise lead Neve Campbell announced her exit from this sequel on social media over a pay dispute, prompting the creative team to prepare two versions of the script as filming drew closer. Campbell's absence is not a deal-breaker, as Sidney's decision to stay away from this Ghostface killing spree feels natural - after all, she only came back to Woodsboro in the previous film after Dewey's murder. Despite Sidney not appearing here, Scream VI strongly connects to the previous Scream pictures, with Gale's investigation even uncovering a lurid museum with masks, robes, knives, and other items from past Ghostface killers. The directors also briefly include the song "Red Right Hand," the franchise's de facto theme tune, further reinforcing this sense of legacy without tipping the film into nostalgia overload.
The robust ensemble cast further elevates the experience. Ortega and Barrera continue to grow into their roles, balancing vulnerability and resilience, while Savoy Brown and Gooding bring warmth and wit, making the "Core Four" instantly endearing. Meanwhile, returning favourites like Hayden Panettiere and Courtney Cox slot seamlessly back into the chaos, grounding the film with a sense of continuity. Even the newcomers make strong impressions, with a grizzled Mulroney the most notable addition as a veteran police officer. Bettinelli-Olpin and Gillett even recruit their Ready or Not star, Australian actress Samara Weaving, to feature in the memorable opening sequence. Plus, it's fascinating to see Jack Champion here - Scream VI was released merely a couple of months after the actor's appearance in Avatar: The Way of Water.
Scream VI is not perfect, as the familiar tropes and almost staggering plot armour do detract from the experience, but the creative new ideas and superb execution do a lot to compensate for the shortcomings. Taken together, these strengths make Scream VI feel less like a rushed cash-in and more like a bold evolution for the series. It proves that even in its sixth instalment, the franchise can still deliver razor-sharp tension, inventive ideas, and stylish craftsmanship. For all its foibles, Scream VI stands as one of the most energetic and confidently mounted slashers in recent memory - an entry that earns its place in the Ghostface legacy and shows that the iconic killer still has new ways to get under our skin.
7.3/10
7.3/10
