It’s funny how this film is marketed as the first Scream movie in IMAX, yet it’s their sloppiest work to date. Williamson accomplishes two decent kills. My praise goes to the prosthetic team and gore above anything else. The filmmaking is amateurish, lacking any of the tension build and innovation in set pieces like the Radio Silence or Craven entries. Many slasher sequences consist of terribly spliced editing and incomprehensible camera movement. There was a person at my screening asking if one of the Ghostfaces was killed. I responded, “Yeah, they were shot in the head; you just couldn’t see it because the filmmaking is so damn unintelligible.” 

Really, Spyglass? This is the best you can do to “damage control” your series that was perfectly fine?

I’m getting comments from morons right now telling me that I’m biased for speaking “politically” about this movie. Fuck you! This poorly made, bland, and franchise-worst entry is a byproduct of political cowardice.

The production company was so adamant about silencing their outspoken star, who simply stated that she’s against the killing of Palestinian people by an evil totalitarian regime, that they deliberately fired her, conflating her comments to “anti-semintism,” when, and if you read what she said exactly, it wasn’t. Only to reconstruct the buildup made in her arc and settle on a nonsensical, manufactured, nostalgia-based slop fest to appeal to fans who lack genuine film taste in big 2026. To add insult to injury, this movie actively takes potshots at those predecessors, perhaps out of pettiness that Williamson didn’t pen them or a mean-spirited middle finger to the star the studio fired. Truly, fuck you. Take the Barrera aspect out of this, which is still impossible, and Scream 7 is a lazy, sloppy, ill-conceived, no-vision, enshittification of Scream and a bloody embarrassment to the franchise. It took a real, morally upright actress to make Ghostface’s knife go from metal to plastic. 

FINAL STATEMENT

You either die a Scream or live long enough to see yourself become a Stab.

Mexican writer/director Michel Franco explores the dynamics of money, class and the border through the spiky, unsettling erotic drama “Dreams,” starring Jessica Chastain and Isaac Hernández, a Mexican ballet dancer and actor.

In the languidly paced “Dreams,” Franco presents two individuals in love (or lust?) who experiment with wielding the power at their fingertips against their lover, the violence either state or sexual in nature. The film examines the push-pull of attraction and rejection on a scope both intimate and global, finding the uneasy space where the two meet.

Chastain stars as Jennifer McCarthy, a wealthy San Francisco philanthropist and socialite who runs a foundation that supports a ballet school in Mexico City. But Franco does not center her experience, but that of Fernando (Hernández), whom we meet first, escaping from the back of a box truck filled with migrants crossing the U.S./Mexico border, abandoned in San Antonio on a 100-degree day.

His journey is one of extreme survival, but his destination is the lap of luxury, a modernist San Francisco mansion where he makes himself at home, and where he’s clearly been at home before. A talented ballet dancer who has already once been deported, he’s risked everything to be with his lover, Jennifer, though as a high-profile figure who works with her father and brother (Rupert Friend), she’d rather keep her affair with Fernando under wraps. He’s her dirty little secret, but he’s also a human being who refuses to be kept in the shadows.

As Jennifer and Fernando attempt to navigate what it looks like for them to be together, it seems that larger forces will shatter their connection. In reality, the only real danger is each other.

The storytelling logic of “Dreams” is predicated on watching these characters move through space, the way we watch dancers do. Franco offers some fascinating parallels to juxtapose the wildly varying experiences of Fernando and Jennifer — he enters the States in a box truck, almost dying of thirst and heat stroke; she arrives in Mexico on a private plane, but they both enter empty homes alone, melancholy. During a rift in their relationship, Fernando retreats to a motel while working at a bar, drinking red wine out of plastic cups with a friend in his humble room, ignoring Jennifer’s calls, while she eats alone in her darkened dining room, drinking red wine out of crystal.

These comparisons aren’t exactly nuanced, but they are stark, and for most of the film, Franco just asks us to watch them move together, and apart, in a strange, avoidant pas de deux. Often dwarfed by architecture, their distinctive bodies in space are more important than the sparse dialogue that only serves to fill in crucial gaps in storytelling.

Cinematographer Yves Cape captures it all in crisp, saturated images. The lack of musical score (beyond diegetic music in the ballet scenes) contributes to the dry, flat affect and tone, as these characters enact increasing cruelties — both emotional and physical — upon each other as a means of trying to contain their lover, until it escalates into something truly dark and disturbing.

Franco, frankly, loses the plot of “Dreams” in the third act. What is a rather staid drama about the weight of social expectations on a relationship becomes a dramatically unexpected game of vengeance as Jennifer and Fernando grasp at any power they have over the other. She fetishizes him and he returns the favor, violently.

Ultimately, Franco jettisons his characters for the sake of unearned plot twists that leave the viewer feeling only icky. These events aren’t illuminating, and feel instead like a bleak betrayal. The circumstances of the story might be “timely,” but “Dreams” doesn’t help us understand the situation better, leaving us in the dark about what we’re supposed to take away from this story of sex, violence, money and the state. Anything it suggests we already know.

‘Dreams’

(In English and Spanish with English subtitles)

1.5 stars (out of 4)

No MPA rating (some nudity, sex scenes, swearing, sexual violence)

Running time: 1:35

How to watch: In theaters Feb. 27

“Mercy”

(Thriller/Crime: 1 hour, 39 minutes)

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis

Director: Timur Bekmambetov

Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)

Movie Review:

“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.

Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.

Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.

All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)

“Return to Silent Hill”

(Horror: 1 hour, 46 minutes)

Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange

Director: Christophe Gans

Rated: R (Bloody violent content, strong language and brief drug use.)

Movie Review:

“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.

Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).

Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.

Grade: D (Do not return to see this.)

“Sentimental Value”

(Drama: 2 hours, 13 minutes)

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning

Director: Joachim Trier

Rated: R (Language, sexual reference, nudity and thematic elements)

Movie Review:

“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).

This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.

Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.

“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.

Grade: A- (Any motive valuable movie.)

“In Cold Light ”

(Crime: 1 hour , 36 minutes)

Starring: Maika Monroe, Allan Hawco and Troy Kotsur

Director: Maxime Giroux

Rated: R (Violence, bloody images, strong language and drug material)

Movie Review:

“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.

Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).

For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.

French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.

Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).

Grade: C- (Just cold and dark.)

More movie reviews online at www.valdostadailytimes.com.