This Weekend On-Screen: We've got a lot to catch up on, don't we?

Creed 3, Scream VI, Chris Rock's new special, The Last of Us ends, the Oscars happened, and even more to talk about in this supersized catch-up of March's entertainment so far

Mar 19, 2023

Scream VI (In theaters now)

Scream 6 Review: Ghostface Stages Most Brutal Kill Scenes Yet | Den of Geek

There is exactly one sign in Scream VI that points to the Scream franchise starting to show its age. In one of the most famous pieces of deceptive marketing ever, the first Scream touted a superstar Drew Barrymore as the leading face of a new horror movie, only to brutally murder her in the opening scene. Since then, the series has prided itself on the notion that nobody (okay, no supporting character) is ever safe from Ghostface’s kitchen knife-wielding wrath, further proven by Dewey’s death in the last installment. Here, that feeling is quickly abandoned for some nonsensical examples of plot armor. Depending on your place on the cast list, a stab wound is either fatal or can be shaken off in minutes. Most egregious are the incredulous number of fake-out deaths, with the amount of cast members who are just fine in the end racking up in such quick succession that it becomes almost laughable. However, it almost came as a relief that the dwindling stakes of the franchise were my biggest criticism walking out of Scream VI, another hugely successful sequel in what might be the most successful horror franchise ever. Returning to that original cold open, the series’ evolution is even more apparent.

Instead of trying to find a new way to recapture the novelty of characters referencing horror movies while in a horror movie, VI turns the commentary away from the modern state of horror and toward social issues like how conspiracy theories spread on social media. Instead of trying to present another tried-and-true Ghostface slashing as its opening, VI subverts our determined expectations and sets us down multiple different paths in just a few minutes. Radio Silence (the filmmaking team behind this rebooted Scream duology) continues to find a sharp twist on the series, moving the main action to the Big Apple after the series stuck to the suburbs for so long. Utilizing backstreet bodegas and a particularly impressive sequence involving crawling between two high-rise buildings, the concrete jungle is a bustling new playground for a slasher villain (I’m willing to forgive the convenience of Ghostface’s unnoticed escapes for the paranoia of being surrounded by strangers). This is also the goriest Scream movie by far, injecting the killings with another new flavor by adding more hard-R violence than usual.

As the second franchise discussed today that is progressing without its lead, I think Scream VI was even less affected by Neve Campbell’s absence, not only because the story had little place for her but because our new batch of characters are perfectly capable leads. Unlike the innocence of Sidney, both Sam and Tara are harder-edged characters who are not afraid of having to get violent and embrace their familial roots in serial killing. The side characters aren’t as memorable as them, and are often prone to the melodramatic moments that are the script’s biggest weakness. This franchise has always managed to balance well-placed humor and edge-of-your-seat thrills to appeal to a somewhat broader audience than normal, but some of the painfully corny dialogue here felt targeted at teenage audiences. And as for the last component that’s key to this series, the final whodunnit reveal was much more satisfying than the last chapter’s painfully obvious unmasking. Here, they managed to put enough red herrings and potential suspects to make for a surprising yet satisfying conclusion. The final note the movie leaves you on reinforces that, while Freddy, Michael, and Jason were reduced to all but corpses by their sixth entries, the Scream franchise somehow has more fresh blood in it than ever.

Grade: B+

Creed 3 (In theaters now)

Creed III' review: Awesome 'Rocky' movie — without Rocky

In a time where all of your favorite properties from the ‘80s and ‘90s feel destined to be dug up from their grave, the Rocky series seemed desperate to be another embarrassing return. A spinoff about Apollo Creed’s son? And yet, against all odds, the movie universe came together to assemble an absolute knockout, and a film that could even be argued to match the original Rocky in quality. Luckily, the one-in-a-million quality somehow continued to Creed 2 even with the loss of Ryan Coogler, and has somehow been sustained in the electric third chapter. Much controversy has been made about Stallone’s lack of appearance in this film, and even though one of his motivational speeches would have certainly been welcome, the film represents the franchise wisely moving forward. Without needing to be anchored to Rocky, Michael B. Jordan (stepping into the director’s chair) understands that he needs to change up the formula to keep the series fresh. The most notable change is the execution of the fight sequences, ones that alter the setting and concentration on specific weaknesses to translate the characters’ inner conflict to a literal one. The final battle may go too far for some in pulling from Jordan’s anime inspirations, but the hyperfocus on relatively unseen elements adds a hard-hitting creativity that is relatively new.

Even the plot differentiates itself from others in the Rocky franchise, as the storytelling relies more on intrigue and mystery rather than telling the plot in an entirely linear fashion. This adds new layers to uncover as the story progresses, but also never feels like a gimmick as it can reveal more about certain character dynamics late into the film and compliment Adonis’ best arc yet. To that point, Jordan also uses his first standalone chapter to tell a story personal to Adonis’ past. The arrival of Jonathan Majors’ Dame brings a fresh villain to a series with the tendency to drift toward cartoons instead of characters. His motivation is far more sympathetic, particularly as you see the success that he feels was ripped away from him in the beginning. As his resentment continues to build, Majors’ nuanced performance counters Jordan’s charisma as a leading man. Their stilted interactions at the start thrive at showing how these once-friends are now incredibly distant, as Adonis is someone who has fought hard to find a comfortable life with his family whereas Dame sees him living the life that was taken from him.

What makes the Creed films so special are the grounded emotions of these characters, which makes the boxing matches more intense because of the raw dramatic stakes that preceded them. Just like how they managed to turn the Dragos from Russian caricatures into a broken family, the simmering tension that these once-friends now have after morphing into radically different people feels so human (particularly in the realistic, uncomfortable dialogue in the first act). The film does run into some pacing issues as it transitions into the third act, where it skims through some important plot beats and should have dwelled on the development of Dame going into the final fight. Creed 3 definitely works as a satisfying sports movie that still finds something new to offer in a ninth installment. Where it excelled was in the sincere character dynamics that haven’t been explored to such depth in this franchise. As a story so specific to Adonis Creed’s character, maybe it needed the absence of Rocky to pack a powerful punch.

Grade: A-

Operation Fortune: Ruse de Guerre (In theaters now)

Operation Fortune: Ruse de Guerre' Review: The Getaway Car Is Stuck on Cruise - The New York Times

Guy Ritchie has done it all. From a King Arthur epic, two Sherlock Holmes capers, and even a Disney live-action remake. But, unlike those ones mentioned, the best Guy Ritchie films feel like Guy Ritchie films. From the frenetic editing, non-linear storytelling, intricately woven gangster stories, and a lively cast of characters, he has made a signature stamp as a director, especially in recent years where he had somewhat of a resurgence as a filmmaker. Operation Fortune doesn’t have the wicked-sharp plotting of The Gentlemen, nor the white-knuckled intensity of Wrath of Man. This spy caper steers away from Ritchie’s sweet spot in the gangster genre, as well as most of his distinctive flairs. Most of the tricks that I had mentioned above are absent, and the only truly quality that’s carried over is his quick-witted banter, admittedly a bit more hit-or-miss than usual but reminds you of his dialogue’s charms at his best. The absence of his unique style was heavily disappointing as a fan of his work, and caused Operation Fortune to not leave much of a mark. The plot is surprisingly simplistic, a formulaic MacGuffin chase that’s matched with equally bland characters and action. The word “bland” has never been used to describe a Guy Ritchie film, yet feels unfortunately apt here.

Luckily, the disappointment this film brought as a Ritchie fan was slightly offset by my leniency with the spy genre. The story moves at a rapid pace, one that jumps from ever-changing European settings so frequently that it feels like the crew figured out how to edit the scenes together so aggressively that it would leave no time for the audience to get bored. It’s also gifted with a far over-qualified cast, notably the bone-crunching archetype that’s been perfected by Jason Statham, the sarcastic archetype that’s been perfected by Aubrey Plaza, and the sniveling slime-ball that has been surprisingly perfected by Hugh Grant in recent years. Many scenes are brought to life by their dynamic actors, and the breezy tone kept me invested in the globe-trotting, throat-punching escapades. It didn’t necessarily put in too much effort, but the start-studded squabbling and glossy action sequences passed the time harmlessly. (at least until the overlong finale). However, coming from someone who was expecting better due to seeing Ritchie take on a spy adventure, the barebones execution left a lot of potential untapped.

Grade: B-

Chris Rock: Selective Outrage (Available on Netflix)

Chris Rock Live Netflix Special Makes Streamer's U.S. Top 10 Rankings – The Hollywood Reporter

"Anybody that says words hurt has never been punched in the face." Chris Rock has never been one to mince his words, often tap-dancing on the line between eliciting hearty laughs and offended groans from his audience. It’s fitfully ironic that the joke that got him slapped, and made him the subject of headlines for an entire year, is a pretty tame joke by Rock’s standards. Nearly all of the comedian’s jokes in Selective Outrage lean into riskier territory more than an unremarkable throwaway barb about alopecia. The closing ten minutes, where he dives into his unrevealed feelings of the Slap, has been the most memorable segment of the set. It’s rare to see a comedian unleash such unbridled anger, yet manages to be so funny when hearing these biting insults that most of the audience tuned into the special to see. There are certain parts of the special that don’t feel like Rock’s best material; some of his complaints and views on current issues already feel plenty discussed by his peers. He’s at his best when telling stories unique to his life or cultural observations that have his signature punchiness (as an example of my previous point: his critiques of today’s much-mocked outrage culture are most enjoyable when he’s discussing how brands like Lululemon use political correctness as a marketing tool). It’s not his best work, but seeing a great back on stage will never disappoint in a steady stream of laughs. And hey, in Netflix’s current, dire state, “steady stream of laughs” is about the best you can ask for.

Grade: B

The Last of Us (Full season available on HBO Max)

The Last of Us' Season 1 Finale Ratings Hit Series High – The Hollywood Reporter

I’m someone who has never played the video game that The Last of Us is based on, so if you are someone with an intimate knowledge of the source material, take everything that I’m about to say with a grain of salt. In my humble opinion, the game that this series was so loyal about adhering to may have been both its biggest strength and biggest detriment. Since I thoroughly enjoyed the 9-week experience that showrunners Neil Druckmann and Craig Mazin took me on, I actually want to get my negatives out of the way first. The show’s biggest fault was in its uneven pacing, mostly arising from the fact that they had material that needed to span more than 9 episodes. I am never one to complain that a show is moving too fast, but The Last of Us often felt like it was more concerned with executing the beats from the game like it was checking off a checklist, rather than properly adapting it into a new format. Episode 8 was the biggest victim to this, where they decided to skim over the introduction of a new biblical community, an exploration of their cannibalistic customs, David’s capture of Ellie, and Joel’s ensuing rampage in merely 50 minutes. All of those ideas look outstanding on paper, but nothing is allowed to be fleshed out when you’re forced to cover so much in a short time period. The intensity wasn’t all there because we were never allowed to truly marinate in the threat of this community. Joel’s desperation to return to Ellie wasn’t quite as well-realized as it could have been because his rage was only seen in one scene, which also made their reunion scene nowhere near as heartfelt as it should have been.

The finale definitely fell victim to this problem, albeit not as frustrating because the potential wasn’t as clearly open for expansion. The hospital sequence was another example of flying through weighty material, leaving little time to wrestle with the moral conflict of saving Ellie and Joel’s subsequent killing spree. Nevertheless, it still carries a good amount of dramatic heft due to the highly investing relationship formed between the two. Joel’s need to hold onto Ellie is the essential culmination of his journey, someone prioritizing the purpose that having a daughter gives him over saving the world, especially since he knows what he’s capable of when he isn’t tethered to any relationships. Similarly, Ellie needs Joel to give her a safety that she hasn’t felt with anyone besides her best friend Riley, and sees their relationship as an escape from the darkness she’s had to experience. Both are performed excellently by Pedro Pascal and Bella Ramsey, each having natural chemistry with each other while also displaying a number of Emmy-worthy individual moments.

The Last of Us also needs to be appreciated for pulling off quite the incredible feat: it featured the return of top-notch water-cooler TV. Nowadays, the most talked-about shows unfortunately turn out to be the most disappointing, where properties like Lord of the Rings, Marvel, and Star Wars are releasing hotly anticipated shows that turn out to be junk. Leave it to HBO (what continues to be the gold standard for showing every other competitor how it’s done) to resume the Sunday night slot that The Walking Dead and Game of Thrones once filled, allowing audiences to engage with a show that showed reverence for its source material and is accessible to newcomers. It kept us on the edge of our seat when exploring this broken world, yet differentiating it from Walking Dead with a unique angle. It did not skimp on shocking moments that left social media reeling after each episode, particularly in episode 5’s high-octane infected attack followed by a double gut-punch in the deaths of Henry and Sam. At the same time, it managed to find hope in ways that showed us through the apocalypse through new lenses, such as the lauded episode 3 that snuck a heartfelt love story into the apocalypse. Every episode was filled with simple details that elevated it above the competition, like the incredibly cinematic production design that many wouldn’t even think is so important. It was definitely rushed in places, and could have featured way more infected in the second half. But at its best, this show brought back a thrill that feels lacking in the modern television landscape, even with the sheer amount of content that is released. An apt title, indeed. As far as a certain breed of television, The Last of Us is one of the last of them left.

Finale Grade: B+

Season Grade: A-

Servant (Full series available on Apple TV+)

M. Night Shyamalan's 'Servant': Apple TV+ Debuts Season 4 Trailer - Variety

In my negative review of the first two episodes of Servant’s final season, I wrote about how frustrated I was that the show seemed determined to spin its wheels as it barrels toward an overdue finish line. Servant has perfected the art of stretching 5 minutes worth of plot across a 30 minute episode, and for the first half of the season, it seemed like the show would end on a complete whimper. Luckily, the second half picked up quite a bit and got the ball rolling on some serious plot developments, even ramping up some long-running mysteries by making us question what we’ve been seeing all along. The M. Night Shyamalan-helmed episode 9 ratcheted up the tension by delivering on a moment that we’ve been waiting for since season 1, and ended it on an equally long-awaited moral struggle. It’s strange then, after all of the aimless wheel-spinning this show has done, that by the time the credits rolled on the series finale, nothing felt earned. I felt very little for these characters I’ve been watching for 40 episodes, mostly because it all felt like the least ambitious conclusion possible.

Dorothy and Sean’s eventual acceptance of Leanne rang entirely hollow, mostly because of the rapid change in mentalities that seemed to happen between episodes. Sean and Julian wanted to lure her to her death two episodes ago, but now we’re supposed to accept that they’re a family because Leanne is weeping on a terrible CGI soundstage. There were moments of the finale that were fitting, especially in some of Leanne’s final moments. Overall, it felt surprisingly half-baked and having problems that didn’t plague the rest of the show, specifically in a too-tidy epilogue that lacked the signature atmospheric horror. It’s clear to me that there a version of this show that was a three, maybe even tighter two season run that capitalized on the series’ best elements (the interesting characters, the creepy ambiance) without having to solely rely on the to cover up its plodding. I liked you, Servant, but why’d you have to make it so damn hard sometimes?

Finale grade: C+

Season grade: B-

Series grade: B

Discussion: Why do horror franchises lose what makes them special? And why hasn’t the Scream franchise lost it yet?

Scream 6' spoilers! Why this character is franchise's best killer

Why is it that slasher franchises go on for so long, yet are only good for a short time? As for the first question, slashers have always been sure-fire box office hits with audiences who know exactly what they’re going into and will likely keep coming back for more, regardless of quality. Studios know that they can be pumped out quickly, cheaply, and guaranteed to make their budget back in their opening weekend. But why do all of them seem to lose their magic despite the slew of sequels they get? The simple fact of the matter is that they just don’t have much to continue off of. Halloween was about a masked man killing teenagers in the suburbs, its brilliance lying in the quiet suspense and mystery of Michael Myers. When you have to make a sequel to such a simple premise, you have no choice but to go against everything that made the original a success, dialing up the violence and mythology of Michael. A silent serial killer hunts teens at a summer camp. A cannibalistic family kills people in Texas. An alien murders people in space. These are all thin narratives, with an initial novelty that wears out when you have to find something new in the same old formula. Even franchises with a level of intrigue to explore, like Saw or A Nightmare on Elm Street, wore out their welcome with sequels that stuck to their basic outline so much that they ended up beating their properties into the ground.

So why has Scream been able to set itself apart? For one, they didn’t release an endless number of sequels in a short time frame. In 27 years, 6 movies have been released, and even though two of those were released a year after their predecessor, they seemed to have spent enough time keeping the creative spark alive. What I think is most integral to keeping the franchise fresh is the changing identity of the killers in every movie. This keeps the familiarity of always having Ghostface on the loose, but also implements a whodunnit guessing game that keeps the characters and audience on their toes until the very end. Another one of their staples is the meta commentary, which allows them to change with the times and find a new aspect of horror to poke fun at with every new release. Their general outline gives us a formula of what to expect in every movie, but changes up just enough in every installment to avoid feeling stale. Every movie has a cold open, but every one is different and subversive in its own way. Even details like changing the setting around and keeping the comedy in their formula give the series a brand but each film having its own identity, with Scream 3 being the only one met to mixed reception. Wes Craven managed to build in a uniqueness about the Scream franchise from the beginning that other franchises didn’t, and therefore couldn’t be very sustainable. Props to Halloween 3, at least, for trying to change it up a bit.

Discussion: The year of the feel-good Oscars

2023 Oscars winners: 'Everything Everywhere All At Once' dominates, with wins for Michelle Yeoh, Ke Huy Quan, Jamie Lee Curtis - ABC7 Los Angeles

Before I go, I would be remiss not to talk about the Oscars a little bit. After last year’s…well, dramatic incident, the winners felt overshadowed by such a black stain on a formal event. This year, the Oscars felt a bit more wholesome than usual, from a chorus of “Happy Birthday” being sung to the sweetest moment of the night belonging to the reunion of Ke Huy Quan and Harrison Ford as the latter presented their best picture win. It was the year of the comeback story, as Quan, Michelle Yeoh, and Brendan Fraser all gave heart-warming speeches after the ups and downs of their careers brought them to their historic moments. It was also the night of Everything Everywhere All At Once, as they swept nearly all of the major awards. As someone who loved the movie, it was refreshing to see such a proudly weird move that featured hot dog fingers and martial arts fights get recognized for its deeply profound story. However, Jamie Lee Curtis’ win for supporting actress was one of the most undeserving of the night. As great as Curtis is, every other actress in that category, especially Angela Bassett and Kerry Condon, were more deserved of what was basically an award for Curtis’ career thus far. Overall, the show had winners that were more balanced between critical darlings and audience favorites, as well as plenty of funny bits from host Jimmy Kimmel and the celebrity presenters. Though one last note…no love for The Banshees of Inisherin? As much as films like Tár, Elvis, The Fabelmans were all shut out and the competitive nature of the acting categories, I would have handed it the statue for Best Original Screenplay. As inspired as Everything Everywhere’s writing was, Martin McDonagh’s script for Banshees was the deepest, most affecting screenwriting of last year. I think it’s to bring my donkey inside for some consolation.