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.



Ari Aster Made a Movie About Polarized America. ‘Eddington’ Has Been Polarizing

Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
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Ari Aster Made a Movie About Polarized America. ‘Eddington’ Has Been Polarizing

Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)

A Post-it note sat near Ari Aster while he wrote “Eddington”: “Remember the phones.”

“Eddington” may be set during the pandemic, but the onset of COVID-19 isn't its inciting incident. Outside the fictional New Mexico town, a data center is being built. Inside Eddington, its residents — their brains increasingly addled by the internet, social media, smartphones and whatever is ominously emanating from that data center — are growing increasingly detached from one another, and from each other’s sense of reality.

“We’re living in such a weird time and we forget how weird it is,” Aster says. “Things have been weird ever since we were able to carry the internet on our person. Ever since we began living in the internet, things have gotten weirder and weirder.”

“It’s important to keep reminding ourselves: This is weird.”

Moviegoers have grown accustomed to expecting a lack of normalcy in Aster's movies. His first three films — “Hereditary,” “Midsommar,” “Beau Is Afraid” — have vividly charted strange new pathways of dread and deep-rooted anxiety. Those fixations make Aster, a master of nightmare and farce, uniquely suited to capturing the current American moment.

“Eddington,” which A24 releases in theaters Friday, may be the most prominent American movie yet to explicitly wrestle with social and political division in the US. In a showdown between Joaquin Phoenix’s bumbling right-wing sheriff and Pedro Pascal’s elitist liberal mayor, arguments over mask mandates, Black Lives Matter protests and elections spiral into a demented Western fever dream.

At a time when our movie screens are filled with escapism and nostalgia, “Eddington” dares to diagnose something frightfully contemporary. Aster, in a recent interview at an East Village coffee shop he frequents, said he couldn’t imagine avoiding it. “To not be talking about it is insane,” he said.

“I’m desperate for work that’s wrestling with this moment because I don’t know where we are. I’ve never been here before,” says Aster. “I have projects that I’ve been planning for a long time. They make less sense to me right now. I don’t know why I would make those right now.”

Predictably polarizing

“Eddington,” appropriately enough, has been divisive. Since its premiere at the Cannes Film Festival in May, Aster’s film has had one of the most polarizing receptions of the year among critics. Even in Cannes, Aster seemed to grasp its mixed response. “I don’t know what you think,” he told the crowd.

Some critics have suggested Aster's film is too satirical of the left. “Despite a pose of satirical neutrality, he mainly seems to want to score points off mask-wearers, young progressives, anti-racists and other targets beloved of reactionaries,” wrote The New Yorker’s Justin Chang. For The New York Times, Manohla Dargis wrote: “Aster knows how to grab your attention, but if he thinks he’s saying something about America, the joke is on him.”

Aster was expecting a divisive reaction. But he disputes some of the discourse around “Eddington.”

“I heard one person say it was harder on the left than the right, and I think that’s pretty disingenuous,” he says. “In the film, one side is kind of annoying and frustrating and hypocritical, and the other side is killing people and destroying lives.”

For Aster, satirizing the left doesn’t mean he doesn’t share their beliefs. “If there’s no self-reflection,” he says, “how are we ever going to get out of this?”

Capturing ‘what was in the air’

Aster began writing “Eddington” in June 2020. He set it in New Mexico, where his family moved when he was 10. Aster wanted to try to capture the disconnect that didn’t start with the pandemic but then reached a surreal crescendo. He styled “Eddington” as a Western with smartphones in place of guns — though there are definitely guns, too.

“The dread I was living with suddenly intensified. And to be honest, I’ve been living with that level of dread ever since,” Aster says. “I just wanted to see if I could capture what was in the air.”

Scripts that dive headlong into politics are far from regular in today’s corporate Hollywood. Most studios would be unlikely to distribute a film like “Eddington,” though A24, the indie powerhouse, has stood behind Aster even after 2023's $35 million-budgeted “Beau Is Afraid” struggled at the box office. A24 has shown a willingness to engage with political discord, backing last year’s speculative war drama, “Civil War.”

And Aster's screenplay resonated with Phoenix, who had starred in “Beau Is Afraid,” and with Pascal. In Cannes, Pascal noted that “it’s very scary to participate in a movie that speaks to issues like this.” For Phoenix, “Eddington” offered clarity and empathy for the pandemic experience.

“We were all terrified and we didn’t fully understand it. And instead of reaching out to each other in those moments, we kind of became antagonistic toward each other and self-righteous and certain of our position,” Phoenix earlier told The AP. “And in some ways it’s so obvious: Well, that’s not going to be helpful.”

‘A time of total obscenity’

Since Aster made “Eddington” — it was shot in 2024 — the second administration of President Donald Trump has ushered in a new political reality that Aster acknowledges would have reshaped his film.

“I would have made the movie more obscene,” he says. “And I would have made it angrier. I think the film is angry. But I think we’re living in a time of total obscenity, beyond anything I’ve seen.”

“Eddington” is designed to be argued over. Even those who find its first half well-observed may recoil at the violent absurdism of its second half. The movie, Aster says, pivots midway and, itself, becomes paranoid and gripped by differing world views. You can almost feel Aster struggling to bring any coherence to his, and our, modern-day Western.

But whatever you make of “Eddington,” you might grant it’s vitally important that we have more films like it — movies that don’t tiptoe around today in period-film metaphor or avoid it like the plague. Aster, at least, doesn’t sound finished with what he started.

“I’m feeling very heartbroken about where we are, and totally lost, so I’m looking for ways to go into those feelings but also to challenge them. What can be done?” Aster says. “Because this is a movie about people who are unreachable to each other and completely siloed off, or fortressed off, a question that kept coming to me was: What would an olive branch look like? How do we find a way to reengage with each other?”