Review: ‘Scream VI’ Goes to the Big City and Strikes Out

This image released by Paramount Pictures shows Jenna Ortega in a scene from "Scream VI." (Paramount Pictures via AP)
This image released by Paramount Pictures shows Jenna Ortega in a scene from "Scream VI." (Paramount Pictures via AP)
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Review: ‘Scream VI’ Goes to the Big City and Strikes Out

This image released by Paramount Pictures shows Jenna Ortega in a scene from "Scream VI." (Paramount Pictures via AP)
This image released by Paramount Pictures shows Jenna Ortega in a scene from "Scream VI." (Paramount Pictures via AP)

In “Scream VI,” the psychotic, knife-wielding serial killer known as Ghostface is set loose on the streets of New York City. Yawn.

The former terror of the fictional California town of Woodsboro has made the cross-country trip to the City That Never Sleeps, bringing his creepy mask, black cloak and impressive supply of daggers. But he's lost in the big city, a slasher made small in his new playground.

No disrespect to Mr. Stabby-Stabby, but New York is where you get screamed at by a deranged hot dog vendor, have fistfights over midtown parking, pay $8 for a pack of gum and find approximately six public bathrooms for 8 million people. Ghostface, dude, up your scare game in the Big Apple. This is the city where Pizza Rat lives. This is a city where middle schoolers have nunchucks.

Despite the change of scenery, “Scream VI” is less a sequel and more a stutter-step, a half-movie with some very satisfying stabbings but no real progress or even movement. It's like treading water in gore. And to fully enjoy this “sequel to the requel,” you need to have watched most of the others.

The four main survivors from the fifth “Scream” are all here a year later — the Carpenter sisters, Sam and Tara (Melissa Barrera and Jenna Ortega) and the smug brother-and-sister duo played by Mason Gooding and Jasmin Savoy Brown. They dub themselves the Core Four. “Survivors got to stick together,” says the brother.

The same directing team of Matt Bettinelli-Olpin and Tyler Gillett return, as well as the writers James Vanderbilt and Guy Busick, who this time layer in some critiques of social media and fame. Courteney Cox is back, too, the last original cast member — or “a legacy,” as she's called — to appear in the franchise. That may not be such a boastable thing.

Sam Carpenter is firmly in the crosshairs of Ghostface — or more than one Ghostface if the pattern persists — and trying to escape her heritage (and notoriety) as the child of an earlier serial killer. Bodies start falling quick. “This isn’t your fault, Sam,” says her sister. “But it is,” replies Sam. And there are some disturbing signs that a latent killer lurks in her heart, too.

The filmmakers have picked quite a canvas — and wasted it. Unlike the “John Wick” franchise, the folks at “Scream VI” seem overawed by the city they've landed in. We expected Ghostface to slice Elmos in Times Square. We wanted finance bros in puffy vests and Brooklyn hipsters with weird facial hair to bleed. We wanted smugly rich Upper East Siders with tiny dogs to get splattered. Instead, the city seems to humble Ghostface, making him just another easy-to-ignore tourist overpaying for knock-off purses on the street.

There are fight scenes in a bodega and in a luxury apartment on the Upper West Side, but perhaps the best New York sequence is on a crowded subway train, where Ghostface is stalking in plain sight. The film is set around Halloween and so the train is packed with creepy dudes, tweaked-out college kids and masked marauders — in other words, a regular Tuesday. Anyone who has ridden the New York City subway in the past three years wouldn't even flinch at Ghostface. They might even cough up a dollar for him to go away.

The sequel sticks with the formula of folding in on itself, mocking in a meta way the horror conventions it itself helped build. “We're in a franchise!” one of the Core Four explains and, indeed, “Scream VI” opens with a film professor yammering on about cliched movie tropes and ends with fight-for-your-lives slash-a-thon at a disused movie theater. And so at the conclusion, we must limp on to the next sequel, with no end in sight, and hearing the city loudly mocking anyone foolish enough to try to come and scare it.



Mel Gibson’s ‘Flight Risk’ is No. 1 at Box Office, ‘The Brutalist’ Expands

FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
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Mel Gibson’s ‘Flight Risk’ is No. 1 at Box Office, ‘The Brutalist’ Expands

FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)

Critics lambasted it and audiences didn’t grade it much better. But despite the turbulence, Mel Gibson’s “Flight Risk” managed to open No. 1 at the box office with a modest $12 million, according to studio estimates Sunday.
On a quiet weekend, even for the typically frigid movie-going month of January, the top spot went to the Lionsgate thriller starring Mark Wahlberg as a pilot flying an Air Marshal (Michelle Dockery) and fugitive (Topher Grace) across Alaska. But it wasn’t a particularly triumphant result for Gibson’s directorial follow-up to 2016’s “Hacksaw Ridge.” Reviews (21% fresh on Rotten Tomatoes) and audience scores (a “C” CinemaScore) were terrible.
President Donald Trump recently named Gibson a “special ambassador” to Hollywood, along with Jon Voight and Sylvester Stallone.
Going into the weekend, Hollywood’s attention was more focused on the Sundance Film Festival and on Thursday’s Oscar nominations, which were twice postponed by the wildfires in the Los Angeles region, The Associated Press reported.
The weekend was also a small test as to whether the once more common Oscar “bump” that can sometimes follow nominations still exists. Most contenders have by now completed the bulk of their theatrical runs and are more likely to see an uptick on VOD or streaming.
But the weekend’s most daring gambit was A24 pushing Brady Corbet’s “The Brutalist” a three–and-a-half-hour epic nominated for 10 Academy Awards, into wide release. Though some executives initially greeted “The Brutalist,” which is running with an intermission, as “un-distributable,” Corbet has said, A24 acquired the film out of the Venice Film Festival and it’s managed solid business, collecting $6 million in limited release.
In wide release, it earned $2.9 million — a far from blockbuster sum but the best weekend yet for “The Brutalist.”
The audience was downright miniscule for another best-picture nominee: RaMell Ross’ “Nickel Boys.” Innovatively shot almost entirely in first-person POV, the Amazon MGM Studios release gathered just $340,171 in 540 locations after expanding by 300 theaters.
Coming off one of the lowest Martin Luther King Jr. weekends in years, no new releases made a major impact.
Steven Soderbergh’s “Presence,” a well-reviewed horror film shot from the perspective of a ghost inside a suburban home, debuted with $3.4 million in 1,750 locations. The film, released by Neon and acquired out of last year’s Sundance, was made for just $2 million.
The top spots otherwise went to holdovers. The Walt Disney Co.’s “Mufasa: The Lion King,” in its sixth weekend of release, scored $8.7 million to hold second place. After starting slow, the Barry Jenkins-directed film has amassed $626.7 million globally.
“One of Them Days,” the Keke Palmer and SZA led comedy from Sony Pictures, held well in its second weekend, dropping just 32% with $8 million in ticket sales. In recent years, few comedies have found success on the big screen, but “One of Them Days” has proven an exception.