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Horror icon Wes Craven's subversive deconstruction of the genre is sly, witty, and surprisingly effective as a slasher film itself, even if it's a little too cheeky for some.
All Critics (70)
| Top Critics (21)
| Fresh (55)
| Rotten (15)
| DVD (6)
No one will ever consider Wes Craven's Scream Oscar fodder, but this funny and scary little experiment in terror from the man who invented "Nightmare on Elm Street" puts some fun back into a very tired genre.
By the time Scream arrives at its final twist, Craven has done too many contortions of his own to give the finale much shock value.
The picture is so full of cross-references, self-mockery and movies within movies (including a stalking that's recorded on video) that it can't help turning into a precious two-hour in-joke.
Scream builds to a splattering finale that should leave genre fans highly satisfied. Here's one of the year's better thrillers.
Scream may be a cut above the gore fests that line the dimly lit back wall at your video store, but it is a far cry from genre classics like Halloween or Craven's own Nightmare On Elm Street.
The pic's chills are top-notch, but its underlying mockish tone won't please die-hard fans.
Scream is an enjoyable film that doesn't take itself too seriously.
A massive disturbance in the atmosphere. Not every movie can do what Scream did-verbalize tropes, subverting them while paying homage...
Scream serves as a near perfect example of how to successfully and single-handedly revive the horror genre.
The movie contains the usual stock horror characters, but they are supplied with dialogue, often surprisingly smart and funny, that serves as a running, biting commentary on slasher conventions.
The movie's only wrinkle is that it is, in a crude fashion, post-modernist. Pardon me while I alert the media.
What made this meta horror movie satire so fantastic when it came out was the clever and often hilarious way that it played with the conventions and clichés of the genre and subverted them with the help of skillful editing and witty referential dialogue.
The well apparent tongue-in-cheek is understandably appreciated but there isn't much other substance here to consider it an all important film. However, note the originality it took to call out its' own genre and continue forth using the same techniques it ridicules so blatantly.
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