Suspiria

Year:  1977

Director:  Dario Argento

Screenplay:  Dario Argento and Daria Nicolodi

Starring:  Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bosé, Barbara Magnolfi, Susanna Javicoli, Eva Axén, Alida Valli, Joan Bennett

Running Time:  99 minutes

Genre:  Horror

American ballet student Suzy Bannion (Harper) arrives at a prestigious German dance school, Tanz Akademie.  On the night she arrives, a fellow student is brutally murdered.  As Suzy settles in to the strange academy, a series of bizarre and disturbing events occur, leading her to the conclusion that the school is a front for a murderous coven of witches.

"Bad luck is not brought on by broken mirrors, but by broken minds."

Italian director Dario Argento is arguably the most influential Italian horror filmmaker.  Starting out as a film critic, and then working as a screenwriter, including working with Sergio Leone and Bernardo Bertolucci on the script for Once upon a Time in the West (1969), before making his name as a director with a series of influential giallo films (a popular mix of horror and thriller, which were forerunners of the American "slasher" films).  Suspiria, co-written with Daria Nicolodi, with whom Argento was in a romantic relationship at the time, and who had previously starred in Argento's film Deep Red (1975), marked Argento's first foray into supernatural horror.  The film was partly inspired by Thomas De Quincey's 1845 essay Suspiria de Profundis, and marked the first of a trilogy known as the "Three Mothers Trilogy" continuing with Inferno (1980) and concluding with Mother of Tears (2007).  While this is Argento's first foray into fantasy, it still has elements of his giallo work: a black-gloved killer, elaborate and gruesome death scenes, and the plot point of the lead character hearing or witnessing an important clue early in the film, which she only remembers or understands the full significance of towards the end.  Right form the start the film opens with deafening, genuinely disturbing music from rock band Goblin, which mixes atonal rock, a kind of nightmare lullaby, and distorted human voices (including Argento himself) shrieking "Witch!"  The film itself doesn't appear to take place in any recognisable real world, with lurid colours, skewed angles, sudden cuts, a swooping, mobile camera, even something as simple as an airport's automatic door opening seems loaded with dread.  The interior of the academy itself with brightly coloured rooms, in which everything seems slightly hostile and alien, becomes like another character in the film.  The dialogue has the strange stilted delivery common in many Argento films,  due in part to the fact that the dialogue was dubbed after filming, which was common practice in Italian film at the time, but that accentuates the oddness of the thing, and makes the film more alien.  Pale, wide-eyed Jessica Harper walks through the whole film like she is in a nightmare.  Argento has never really had much interest in the niceties of logic and plot, and this is one of the times where this approach really works for the material,  It is like a nightmare and so follows a strange kind of dream logic, and so it is Argento's finest work.

Jessica Harper in Suspiria

Phenomena

 Year:  1985

Director:  Dario Argento

Screenplay:  Franco Ferrini and Dario Argento

Starring:  Jennifer Connelly, Daria Nicolodi, Dalila Di Lazzaro, Donald Pleasence, Patrick Bauchau

Running Time:  116 minutes

Genre:  Horror

American teenager Jennifer Corvino (Connelly) arrives at an exclusive Swiss boarding school and soon discovers that the nearby area is being plagued by a vicious serial killer.  Jennifer, it turns out, has the ability to psychically communicate with any kind of insect, and teams up with elderly, wheelchair-bound Scottish entomologist John McGregor (Pleasance), and his intelligent chimpanzee, to track down the killer.

Dario Argento is generally regarded as one of the greatest Italian horror filmmakers.  Despite featuring a lot of Argento hallmarks, Phenomena is far from his best work.  It feels like a mix of the giallo films that Argento made his name with (black-gloved killer stalking young women, point of view shots, the main character witnessing an important detail early one which she is afterwards unable to remember, inept police investigation, and an  overly convoluted final reveal), with dark adult fairy tale (Jennifer's mystical powers, surreal nightmare imagery) and gothic romance (Jennifer Connelly spends a lot of her time running through a dark forest at night in a billowing white nightgown, as might be seen on the covers of numerous '70s paperback originals).  While it doesn't seem to be intentionally funny, the film is so ridiculous it's hard not to laugh at Jennifer's psychic bond with bugs (including teaming up with a fly to find evidence), Donald Pleasence's Scottish accent and the heroic chimp.  The performances are pretty bad, even from normally very good actors such as Jennifer Connelly and Donald Pleasence, who seems to be playing the whole thing for comedy.  Argento's skill at creating arresting images generates some interest, but there are very few of the trademark elaborate set-pieces that Argento can be so skilled at.  While the film is gruesome, gore fans may be disappointed at the comparative lack of bloodshed on display.  The score, from regular Argento collaborators Goblin, mixes lilting fairy-tale style music with sudden bursts of loud heavy metal, along with music from Bill Wyman, Iron Maiden and Motörhead among others.  The plot makes absolutely no sense at all.  It's fun if your in the right frame of mind for it, and the climax is so over the top it's quite entertaining.  On it's original release in the US and the UK the film was retitled Creepers with 20 minutes of footage cut.

Jennifer Connelly in Phenomena

Halloween Ends

 Year: 2022

Director:  David Gordon Green

Screenplay:  Paul Brad Logan, Chris Bernier, Danny McBride and David Gordon Green, based on characters created by John Carpenter and Debra Hill

Starring:  Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Will Patton, Kyle Richards, James Jude Courtney

Running Time:  111 minutes

Genre:  Horror

Four years have passed since serial killer Michael Myers' (Courtney) latest bloodbath, and the residents of the small town of Haddonfield are starting to heal.  Corey Cunningham (Campbell) who accidentally caused the death of a young boy he was babysitting, has since become the town pariah.  Allyson (Matichak), whose parents were killed by Myers and has since been living with her grandmother Laurie Strode (Curtis), befriends Corey.  After being savagely beaten up and left for dead by some bullies, Corey encounters but survives a weakened Michael Myers, and takes it upon himself to continue Michael's murderous legacy.

Halloween Ends is the thirteenth film in the Halloween franchise, and the third and final instalment in the trilogy directed by David Gordon Green which began with Halloween (2018) and continued with Halloween Kills (2021).  The Green series carries on from the original Halloween (1978), discarding the previous umpteen sequels, and Halloween Ends is supposed to be the final Halloween films, although I, for one, very much doubt that it will be.  Halloween Ends is a disappointing entry in the series.  While it does have some very good things in it.  It feels as if the film was intended to be a serious examination of trauma, grief and guilt, but they needed to add Halloween horror elements to make it fit into the series.  The stalk-and-slash horror elements doesn't fit with the more serious and darker aspects.  Another thing is that Michael Myers barely appears in the film.  The main antagonist is Corey who kind of becomes a Michael Myers protege, and he even seems to have Myers' ability to appear and disappear suddenly, as well as surprising strength.  Corey even gets his glasses broken  early in the film and seems to manage without them with no problem whatsoever and nary a stumble.  The performances are good, particularly from Jamie Lee Curtis, and there are some enjoyable set pieces, but the whole film is not scary and, worst of all, is kind of dull.

Jamie Lee Curtis and James Jude Courtney in Halloween Ends

The Wolf House

 Year:  2018

Directors:  Cristobal León and Joaquín Cociña

Screenplay:  Cristobal León, Joaquín Cociña and Alejandra Moffat

Starring (voices):  Amalia Kassai, Rainer Krause

Running Time:  75 minutes

Genre:  Animation, horror, fantasy

Maria, a young girl in an isolated German commune in Chile, escapes into the forest where she finds a strange house.  Inside the house she discovers two pigs who slowly become human, and she raises them as her children.  Meanwhile the house itself seems to change to reflect Maria's emotional state.

This Chilean film is a strange stop-motion animation, which has it's inspirations in fairy tales, urban legends and the real-life Colonial Dignidad cult.  The film opens with a brief live action introduction, presenting the film as a production made by the cult to introduce it to new or potential recruits.  The Wolf House is the first feature length project by animators Cristobal León and Joaquín Cociña, who had previously made some well-received short films, including a music video for the rock band The Smile, an off-shoot of Radiohead.  The film is genuinely surreal and deeply disturbing.  It feels genuinely nightmarish and has something of the feel of legendary Czech animator Jan Švankmajer.  However, it is very much it's own thing, and is definitely recommended to horror and fantasy fans.

The Wolf House

Shock

Year:  1977

Director:  Mario Bava

Screenplay:  Lamberto Bava, Francesco Barbieri, Alessandro Parenzo, Dardano Sacchetti

Starring:  Daria Nicolodi, John Steiner, David Colin Jr., Ivan Rassimov

Running Time:  95 minutes

Genre:  Horror

Dora (Nicolodi) moves back into the house where she lived with her husband who died in an apparent suicide several years before.  Dora is now remarried to Carlo (Steiner), an airline pilot, and she has a young son, Marco (Colin Jr.), from her previous marriage.  The family begin renovating the house, but Marco begins to exhibit increasingly disturbing behaviour, and as strange happenings begin to pile up Dora becomes convinced that they are being haunted by the malevolent spirit of her dead husband.

Mario Bava was one of the most important directors of Italian horror films, with his low-budget, but stylish films influencing filmmakers such as Martin Scorsese, Quentin Tarantino, Tim Burton,  and Francis Ford Coppola.  Shock was the last feature film that Bava completed before his death of a heart attack in April 1980, and his son Lamberto Bava, who co-wrote the film, served as an uncredited co-director for some scenes.  In Shock, Bava largely leaves behind the gruesome Grand Guignol excesses that had been his trademark for a slow-burning tale of supernatural horror, with gore largely absent until the final quarter of an hour.  While this is not Bava's best film, it does have a lot to recommend it.  The direction is stylish, and there are some arresting images.  Daria Nicolodi, who would become a familiar face to Italian horror fans through her appearances in five films by her then husband Dario Argento, gives a strong performance in the central role, and she pretty much dominates the film.  David Colin Jr. is fine, if not particularly impressive, in his role as the creepy child, who may, or may not, be possessed by the vengeful ghost.  There are plot holes, and the whole thing is very silly at times, and there are places where the low budget is painfully obvious, and some fans may be disappointed at the relative lack of gore, but it is a fun little spook show, which should entertain lovers of ghost stories.

Daria Nicolodi in Shock

To Live and Die in L.A.

 Year:  1985

Director:  William Friedkin

Screenplay:  William Friedkin and Gerald Petievich, based on the novel To Live and Die in L.A. by Gerald Petievich

Starring:  William Petersen, Willem Dafoe, John Pankow, Debra Feuer, John Turturro, Darlanne Fluegel, Dean Stockwell

Running Time:  116 minutes

Genre:  Action, crime, thriller

When his partner is killed investigating a counterfeiting operation, corrupt Secret Service Agent Richard Chance (Petersen) is determined to bring down master counterfeiter Rick Masters (Dafoe) by any means necessary.  However, Chance is forced to team up with by-the-book agent John Vukovich (Pankow), who opposes Chance's anything goes philosophy.

Adapted from the 1984 novel by Gerald Petievich, this gritty crime thriller returns director William Friedkin to the seamy world of amoral cops and brutal criminals that he previously explored in The French Connection (1974), the film that made his name.  In fact, aside from being set in Los Angeles rather than New York and dealing with counterfeiters rather than international drug runners, there are some similarities between To Live and Die in L.A. and The French Connection, both deal with ruthless cops (or, more accurately, Secret Service agents in To Live and Die) who will break any rules they have to to bring down a powerful enemy,  and To Live and De in L.A. also features it's own spectacular car chase set piece.  Despite being set in December and January, Los Angeles seems to burn under blazing sunlight, and beautiful pink evening skies (I don't know, I've never been to Los Angeles, maybe it really is like that in the bleak midwinter).  The film looks beautiful throughout, and has a pulsing score from British new wave band Wang Chung.  There is a gritty, authentic feel to the proceedings, which are filmed in some of the less glamorous parts of the city.  The cast is impressive with a number of actors who weren't well known at the time, but later went on to become major stars, notably Willem Dafoe and John Turturro.  William Petersen is believably callous as the repellant Richard Chase, who is the film's nominal hero and extorts his informer Ruth (Darlanne Fluegel) for information and sexual favours, under threat of having her parole revoked.  Willem Dafoe is good as the murderous counterfeiter,  John Turturro is convincingly desperate as the member of Dafoe's gang who Chance arrested and tries to make a deal with.  Darlanne Fleugel takes the acting honours as the unfortunate collateral damage in Chance's war on crime, and her desperation to break free and make a fresh start is heartbreaking.  The big problem with the film is, as good as it is, there is really no-one to root for here.  The ostensible "heroes" aren't much better than the crooks they are chasing.  However, this is an involving and exciting slice of '80s action thriller.

William Petersen and John Pankow in To Live and Die in L.A.

Foxy Brown

 Year:  1974

Director:  Jack Hill

Screenplay:  Jack Hill

Starring:  Pam Grier, Antonio Fargas, Peter Brown, Terry Carter, Kathryn Loder, Harry Holcombe

Running Time:  91 minutes

Genre:  Action, crime

 

When her narcotics agent boyfriend is murdered by a powerful crime ring, Foxy Brown (Grier) poses as a  call girl to infiltrate the syndicate.

This is one of the defining blaxploitation films.  Blaxploitation (the term is a portmanteau word made up of "black" and "exploitation") was a subgenre of American action and crime films that were very popular in the 1970s, which featured predominantly black lead characters and were ostensibly aimed at black audiences.  These films were criticised at the time and since for perpetuating stereotypes of African-Americans, but they were also one of the few places where black characters and stories were shown.  Directed by exploitation veteran Jack Hill, who had previously worked with Pam Grier on Coffy (1972), the film is full of violent action, and it all moves along at a good pace.  Pam Grier is fantastic as Foxy.  Antonio Fargas, who is best known as Huggy Bear in Starsky & Hutch (1975-1979), plays Foxy's deadbeat brother.  Kathryn Loder is good as the sinister head of the "modelling agency" which is the front for the crime ring.  Veteran exploitation actor Sid Haig appears as a pilot who runs drugs between the US and Mexico.  The film does have some social commentary, Foxy has connections to the local Black Panthers, who help keep the streets safe from drug pushers.  Foxy also is in favour of direct, vigilante action against crime as opposed to her upstanding boyfriend who believes in the due process of law.  The film is funny, fast and dynamic.  The fashions and jive-talking dialogue scream 1970s, as well as the funky soul soundtrack featuring songs by Willie Hutch, and the film had kind of a second life in the late 1990s when there was a lot of '70s nostalgia, and has been a heavy influence on Quentin Tarantino, who cast Pam Grier as the lead in his homage to blaxploitation Jackie Brown (1998).  However, the film does have plot holes, and there are elements of it that are certainly not politically correct, particularly in the film's mos disturbing sequence where Foxy is kidnapped by the villains, forcibly injected with heroin and sexually assaulted (although the assault isn't shown, but her violent retribution certainly is).  

Pam Grier is Foxy Brown
  

Christine

Year:  1983

Director:  John Carpenter

Screenplay:  Bill Phillips, based on the novel Christine by Stephen King

Starring:  Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton, Roberts Blossom

Running Time:  110 minutes

Genre:  Horror

1978:  Arnie Cunningham (Gordon), a nerdy, unpopular teenager, spots a broken down, derelict 1958 Plymouth Fury for sale.  Despite the protestations of his best friend, Dennis (Stockwell), Arnie buys the car from a sinister old man, George LeBay (Blossoms), whose deceased brother was the original owner of the Plymouth and named it "Christine".  Arnie sets to work restoring the car at a local do-it-yourself garage, and begins to exhibit strange and disturbing personality changes.  When Arnie starts dating the popular new girl in school, Leigh (Paul), Christine begins to manifest a jealous, murderous personality of her own.

Producer Richard Kobritz snapped up the film rights to Stephen Kings 1983 novel Christine before it was even published, and it certainly looks like a sure fire winner on paper:  King, one of the world's most popular novelists; teenagers; cars; horror and rock 'n'roll.  Director John Carpenter, who had made the seminal horror film Halloween (1978), was attached to direct.  However Carpenter's previous film, The Thing (1982), had been staged by critics and was a commercial flop (even though it is now seen as one of the best films of it's type ever made), and he was not interested in Christine, commenting that he felt the book "was not very scary" but felt that he needed to do the film to help his career.  Certainly the film is a surprisingly bland, workmanlike affair.  In the novel, the car is possessed by the evil spirit of it's former owner, which begins to channel itself to Arnie, however the film opens with a short prologue set in the Detroit production line in 1957 where Christine manifests her hostile personality before she even rolls off the assembly line.  It's never explained in the film why the car has a mind of it's own.  Some of the performances are fairly bland, and some of the high school "teenagers" look as if they are well into their 30s.  In the novel much of the horror comes from Arnie's transformation, as he becomes increasingly paranoid, arrogant and angry, which would probably strike a chord with parents of teenagers, but the film centres the car.  However there are moments when the film works really well.  After Christine is trashed by Arnie's high school bullies, she resurrects herself in a hugely impressive sequence, which is one of the film's biggest set pieces, and when Christine is tracking down and murdering the bullies is really where John Carpenter comes into his own, particularly the scene where the car is on fire chasing after the leader of the gang (William Ostrander).  Roberts Blossom, who became known to horror fans for his lead in the cult film Deranged (1974) and is probably most familiar for his role in Home Alone (1990), is very good in a small role as the dirty, bleary-eyed George LeBay, and Robert Prosky is great as the bad-tempered, raspy-voiced, cigar chewing Darnell, owner of the garage where Arnie keeps Christine.  Harry Dean Stanton is wasted in a small role as the police detective who investigates the mysterious number of deaths surrounding Arnie and his car.  Kelly Preston appears in a small role as Dennis' cheerleader girlfriend.  Keith Gordon is good in the lead, but John Stockwell and Alexandra Paul give quite bland performances.  Also the red and white Plymouth herself, is an impressive looking vehicle, which manages to be genuinely sinister.  In the novel, Stephen King uses the lyrics of rock 'n' roll songs throughout, in the film the 1950s song playing on the car radio serve as Christine's language.  In the prologue she rolls off the production line, warning the world that she is "Bad to the Bone".  When she is alone with Arnie she plays "Pledging My Love" and "We Belong Together", and when she locks her doors to prevent Arnie rescuing a chocking Leigh in the front seat, she plays "Keep A-Knockin'".  While there is nothing particularly unmissable, there is certainly enough here to make recommend the film to horror fans.

Bad to the Bone: Christine

Death in Venice

 Year:  1971

Director: Luchino Visconti

Screenplay:  Luchino Visconti and Nicola Badalucco, based on the novella Death in Venice by Thomas Mann

Starring:  Dirk Bogarde, Björn Andrésen, Mark Burns, Romolo Valli, Nora Ricci, Marisa Berenson, Carole André, Silvana Mangano

Running Time:  130 minutes

Genre:  Drama

At the dawn of the 20th Century, ailing composer Gustav von Aschendbach (Bogarde), finding his physical and mental health suffering after a disastrous concert, travels to Venice for a quiet holiday to recuperate.  In a palatial hotel on the Lido, Aschenbach notices teenager Tadzio (Andrésen) and becomes increasingly obsessed with him.  Meanwhile, Aschenbach becomes aware of rumours of an outbreak of cholera sweeping Venice.

Based on a 1912 novella by German writer Thomas Mann, this is possibly one of the best known films of celebrated Italian filmmaker Luchino Visconti.  British actor Dirk Bogarde, who previously worked with Visconti on The Damned (1969), plays fastidious German composer Gustav von Aschenbach, who is obsessed with the pursuit of ideal beauty.  Failing to find it in his music, he believes he has found it in the adolescent Tadzio.  The film is seen more or less through Aschenbach's eyes, and Tadzio is seen as an object of desire, and it is unclear as to whether Aschenbach's fixation on Tadzio is carnal or if he sees Tadzio as having the perfect beauty of a statue or painting.  The two never speak, Aschenbach stays watching Tadzio in hotel dining rooms, on the beach just outside the hotel, and takes to following Tadzio and his family through the winding streets of Venice.   The two exchange glances, but that is it.  However Aschenbach does at one point fantasise about warning Tadzio's mother, played by Silvana Mangano, of the outbreak in Venice.  The film's narrative in Venice is broken by flashback to Aschenbach's past and dreams.  Dirk Bogarde gives a great performance as Aschenbach, snapping at hotel staff and guards in a train station, discussing aesthetics with a friend, he becomes ultimately a pathetic and rather tragic figure, with his face painted white, lips painted red and hair dyed black to make himself look younger.  Bogarde manages to convey a lot without dialogue, depicting his yearning through longing looks.  The film looks beautiful with every frame carefully composed and features some beautiful images, complemented by a classical score, famously featuring Gustav Mahler's Third and Fifth Symphonies.  This is a slow, languid film, which is nevertheless surprisingly moving.  The story's premise of an adult's infatuation with an adolescent is, to put it mildly, uncomfortable and problematic, although it is a powerful work of art.  Aschenbach is a man who knows he is dying, who knows that his time has passed, alone and forgotten in the stately grandeur of a bygone age, in a place where even the air is making him feel increasingly sick, he sees in Tadzio the youth, life and beauty that he craves but that he can never have.

Björn Andrésen, who plays Tadzio, and who was 16 at the time of the film's release, has since criticised the film and the unwelcome and often predatory attention that he received during it's production and following it's release.  The Most Beautiful Boy in the World, a documentary about Andrésen, was released in 2019.

Dirk Bogarde in Death in Venice

Scum

Year:  1979

Director:  Alan Clarke

Screenplay:  Roy Minton

Starring:  Ray Winstone, Mick Ford, Julian Ford, John Blundell, Phil Daniels, Ray Burdis, Alrick Riley

Running Time:  97 minutes

Genre:  Drama

Three teenage boys arrive at a British "borstal" (a type of youth detention centre):  Carlin (Winstone) is being transferred for assaulting an officer at his previous borstal, Angel (Riley) has been convicted of stealing cars, and Davis (Ford) escaped from an open borstal.  Once in the prison Angel suffers racist abuse from both inmates and guards, and Davis, who is perceived as weak, is also victimised.  Meanwhile Carlin is targeted by the inmates, for his tough reputation, and the guards, who want revenge for the officer he hit.  In order to survive carlin embarks on a desperate, violent struggle to become the top dog, or "daddy", in the borstal.

Scum started out as a television movie made in 1977 for the BBC's groundbreaking Play for Today series.  However, the BBC got cold feet due to the violent content and pulled it form transmission.  Prolific TV director Alan Clarke, who directed the original TV play, and writer Roy Minton decided to remake Scum as a feature film, with most of the original cast of the play returning.  Scum was intended as an indictment of a failing prison system,  Despite the fact that borstal was supposed to be more about rehabilitation than punishment, there is very little attempt at rehabilitation shown, with the staff just as cruel and brutal as the prisoners (or "trainees" as they are called).  The borstal staff are almost all depicted as brutal thugs in suits, the elderly governor is portrayed as a hypocrite who insists that "there is no violence here" despite the fact that violence is almost constant in the institution.  Even the staff who deem to genuinely want to help their charges, such as the Matron (played by Jo Kendall), the film's only female character, don't have the resources, freedom or skill to do anything,  This is a very brutal film, the filmmakers took full advantage of the greater freedom a feature film allowed them to increase the level of violence.  There is a lot of racism and homophobia, frequent violent scenes, a brutal rape scene and a very bloody suicide.  The actors are disturbingly good, particularly Ray Winstone as the film's nominal hero, and Mick Ford as the intelligent, eccentric Archer, one of the film's few likeable characters, whose deadpan humour brings a little light into the darkness.  The film is shot in an almost documentary style, with the stark, white interiors and bleak wintery landscapes outside emphasising the hopelessness of the characters.  In the years since it's release, Scum has become something of a cult film in Britain.  It's worth watching, although I would advise to approach with caution.  It's a harrowing experience.

Ray Winstone in Scum

Scream 3

Year:  2000

Director:  Wes Craven

Screenplay:  Ehren Krueger, based on characters created by Kevin Williamson

Starring:  Neve Campbell, David Arquette, Courteney Cox Arquette, Patrick Dempsey, Jenny McCarthy, Parker Posey, Deon Richmond, Emily Mortimer, Scott Foley, Lance Henriksen

Running Time:  117 minutes

Genre:  Comedy, horror

Sidney Prescott (Campbell) is now living in self-imposed seclusion after surviving the killing sprees in her home town of Woodsboro and Windsor College.  Until, that is a new killer, once again wearing a Ghostface mask, starts picking off the cast of new horror movie Stab 3, based on Sidney's story.  Sidney has to travel to Hollywood and reunite with fellow survivors tabloid TV news journalist Gale Weathers (Cox Arquette) and former small town cop turned security guard Dewey Riley (Arquette) to uncover the new killer.

The original Scream (1996) was a true game changer in the horror field, which really revitalised the slasher film genre, at a time when it seemed to have had it's day.  Scream 2 (1997), while not as good as the original, was still a strong sequel.  However, Scream 3 was the point where the franchise dipped.  Kevin Williamson, who wrote the first two films, bowed out of screenwriting duties to be replaced by Ehren Kruger, and Williamson's distinctive voice is certainly missed here.  Wes Craven returns as the film's director and once again stages some impressive action scenes, most notably a scene where Sidney is chased by the killer through a studio mockup of Woodsboro.  Due to concerns over the portrayal of violence in media following the 1999 Columbine Massacre, the level of violence is heavily toned down from the previous films, and the film leans more towards comedy than horror.  Neve Campbell, David Arquette and Courteney Cox Arquette are as engaging as ever, even if Courteney Cox Arquette (who was married to co-star David Arquette at the time) is saddled with a a truly dreadful hairstyle.  Also in the cast is genre veteran Lance Henriksen, popular model-turned-actress Jenny McCarthy, indie film veteran Parker Posey and an early role for Emily Mortimer.  The film also features cameos from legendary B-movie producer Roger Corman, Kevin Smith and Jason Mewes as Jay and Silent Bob, and in the film's funniest moments Carrie Fisher as a washed-up actress working in the studio archives, still bitter over the fact that the role of Princess Leia went to "the one that slept with George Lucas".  Another fun element is Parker Posey as the actress playing Gale Weathers teaming up with Courteney Cox Arquette as the real Gale Weathers, in order to get into character.  The film is not as funny or suspenseful as the previous films, but the Hollywood setting adds an interesting element, and the final act of the film does work, even if it feels more like a cross between Agatha Christie and film noir than a Scream film.  There is also a character who is a creepy movie producer who preys on young actresses and delivers the line "there are plenty of criminals in this town whose careers are flourishing", which has an added resonance in the post-Weinstein world.  Ironically, Harvey Weinstein was one of the film's executive producers.

David Arquette, Neve Campbell and Patrick Dempsey in Scream 3

  

Scream 2

Year:  1997

Director:  Wes Craven

Screenplay:  Kevin Williamson

Starring:  Neve Campbell, Courteney Cox, David Arquette, Jamie Kennedy, Jerry O'Connell, Timothy Olyphant, Laurie Metcalfe, Jada Pinkett, Sarah Michelle Gellar, Liev Schreiber

Running Time:  120 minutes

Genre:  horror, comedy

 Two Windsor College students are brutally murdered at a preview of the new horror film Stab, based on the serial murders in the small town of Woodsboro.  Sidney Prescott (Campbell), one of the survivors of the Woodsboro murders, is also a student at Windsor and soon realises that she is once more being targeted by a ghost-mask wearing killer.  As the bodies and suspects mount up, it becomes clear that someone is trying to make a sequel to the previous killing spree.

Given the immense success of Scream (1996) a sequel was almost inevitable, and the filmmakers certainly didn't waste any time, with Scream 2 in cinemas only a year after the original.  Given the short time between the films it is surprising that Scream 2 is as good as it is.  While the original film both celebrated and commented on the tropes of traditional slasher horror films, this film does the same with horror sequels, including a scene which mirrors a famous sequence in the original where the film nerd Randy (played by Jamie Kennedy) outlines the rules of sequels.  Horror veteran Wes Craven returns to directing duties and orchestrates everything on a much bigger scale with some memorable set pieces, the opening sequence in the cinema, featuring Omar Epps and Jada Pinkett, is one of the highlights of the whole Scream series, and the ensemble cast, which features a number of future stars, as well as veterans such as David Warner, all give good performances.  Neve Campbell is good in the lead, and there is real connection between Courteney Cox and David Arquette, who were in a relationship at the time and later got married. The script by Kevin Williamson is witty, clever and full of pop-culture references.  This film also introduced film-within-a-film Stab, which would become a recurring feature in the Scream franchise, allowing the filmmakers to comment on and poke fun at the franchise itself.  the film inevitably lacks the freshness of the original.  There also some glaring plot holes, and a reliance on red-herring scares.  It is still a very good film, and definitely a superior sequel.

Neve Campbell and Courteney Cox in Scream 2