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Finding Horror Community in Lockdown: Unnamed Footage Festival Recap



This is coverage of the Unnamed Footage Film Festival 24-hour webathon, continue reading for a look at the fourth year of the only found footage festival in North America. 

There is no doubt that the way we watch films has been tested in the last year. Theaters struggle to hold on as blockbuster films premiere on streaming sites. Film festivals do the previously unthinkable work of finding a way to go online.

Viewers now have to experience films alone in places where they used to be community events with friends and peers. And it can be isolating. 

Connecting in the Horror Community in the Time of Coronavirus 

So what does this have to do with the Unnamed Footage Festival? The festival was made four years ago with the intention of showing lower-budget, lesser-known found footage horror movies in theaters, an experience many of them wouldn’t get otherwise.

Like a lot of other film festivals and theaters, after the pandemic, UFF had to rethink their entire purpose and form to continue. This year, what they came up with was a 24-hour interactive webathon (the first of its kind, as far as I know) encouraging horror fans to connect with each other while sharing an experience, virtually. 


Unnamed Footage Festival Schedule

While it was a bit grueling to stay up that long (but then again, what film festival isn’t a little bit grueling?) the marathon-style festival overall was entertaining and encouraging to know I was part of a collective of horror fans experiencing this at the same exact time across America and beyond. 

I don’t know if it was intentional, but the festival couldn’t help but conjure up a similar horror event that happened recently: the 24-hour Last Drive-In marathon on Shudder that brought back Joe Bob Briggs and “broke the internet” in 2018. 

Even though it was simpler times (pre-pandemic), the incredible response to this live show, where people could watch at the same time across the world and make friends with other people watching it on social media, indicated that horror fans were craving connection with each other. 

Similarly, horror Facebook groups host watch parties where they can also chat with each other while simultaneously watching the same movie, as opposed to watching a movie alone, which is becoming the norm with the shift towards streaming sites. 

The UFF embraced the horror fans’ desire for community by structuring their festival as one wacky marathon, while most other film festivals moving online have tried to keep the same format that they would have done live, buying tickets for a showing at a specific time. You can still connect with other viewers via social media this way, but it’s just not the same. 

While Twitter was an option, the UFF also incorporated a chatbox within the same window as the marathon that surprisingly did not self-implode, and was a space where people discussed films as they were happening and shared where they were watching from. 

This all means that connecting with others through this marathon experience was pretty close to a live festival, if not better. In the experiment that has become film festivals, UFF won, and I would not be surprised if other film festivals follow suit. 

The marathon of new and old found footage films itself was not the only thing the creative people behind UFF prepared for this festival. The festival opens with the fest organizers pulling the VHS marathon out of their stomach in a Videodrome-style homage, which you can view below.

Between blocks of films, the webathon was being “hosted” by a crude, dry-humoured host named “Vernon Herman Salinger” who interviewed festival coordinators and put on amusing skits. Film and culture critic Mary Beth McAndrews interviewed multiple film directors throughout the festival, some of which are available on their Youtube. 

The coolest and most intricate addition to the festival was something so clever I actually did not notice at first. Their supposed festival sponsor “Waketrix.” This “company” supposedly makes a sleep suppressant drug, and even has a website that looks pretty legit at a glance. However, inspecting it at all will reveal that it was something the festival created as a spooky found footage experience that has scary notes hidden throughout and apparently games as well. Check it out for yourself. 

All this is to say that the festival was pretty darn cool. Now I’ll share my film highlights of the webathon. 

Short Film Highlights of the Unnamed Footage Festival

Found footage. You love it or you hate it. I, for one, love it and found some great films from this festival that were memorable, for good or bad reasons. There was a lot of great talent represented, with films from Spree director Eugene Kotlyarenko and Harpoon director Rob Grant, and other films that were submitted completely anonymously. 

About 30 shorts and 16 features made up the marathon. Without a doubt, some of them rose above the rest.

The first film that impressed me in conflicting ways was a short called Paloma’s Pit by Michael Arcos. The short combines a poetic yet grungy dedication to a cat that died with spy footage (that was cleared by their lawyer) of the cat’s owners confronting the owner of the dog that killed the cat. It is extremely uncomfortable, especially the disturbing claymation cat that narrates the story, and yet is such a moving, eccentric and personal found footage-style dedication to this cat that I couldn’t help but be grossly enamored. 

Paloma's Pit

Paloma’s Pit – Image Courtesy of Michael Arcos

From the same director was a short about a jaguar that escapes his cage and wreaks havoc on his zoo, Valerio’s Day Out. The found footage features real news reels and narrates from the perspective of the killer cat. You can check the short out below.

Another standout short was one that also showed at the iHorror Film Festival in 2019: Possessions 2. Directed by Zeke Farrow, this short is the live videos of an eccentric man holding a sale of his odd belongings, one of which is not as innocent as it seems. 

I loved the style of the short Wet Nurse Trilogy created by special effects company Feast Effects. This trilogy was basically a goblin-looking guy doing various disgusting things (think vomit and goo) to a pair of fake breasts, and I was definitely about that. Hey, boob goo is cool. Check it out below (NSFW).

The short What’s Craicin’! Directed by Chase Honaker, which shows a man unboxing a strange religious cult’s life advice videos, was also very spooky and original. 

The best shorts of the marathon to me were both directed by video game critic Brian David Gilbert and prolific writer Karen Han. The first was Earn $20K EVERY MONTH by being your own boss, which spoofs life advice Youtube videos in a terrifying paranormal way. 

His other short, which I found to be the best of the fest, was Teaching Jake About the Camcorder, Jan ‘97, which is a terrifying and yet emotional view of a man watching a tape of his dad teach him how to use a camera over and over again. It reminds me of one of my favorite horror films of last year, the funny and experimental VHYes.


Feature Highlights of Unnamed Footage Festival

The first feature at the festival was the excellent I Blame Society (2020) directed by Gillian Horvat. The film follows the main character and director, Horvat, playing a woman filmmaker who continues to get rejected for having too disturbing ideas for a girl, instead of helping create “strong female characters.” Dealing with various other personal problems with her life, she realizes that as a woman she can very easily get away with murder. 

I Blame Society

I Blame Society

The film follows a recent resurgence of low budget, dialogue-heavy comedic dark films dubbed “mumblecore horror” or better yet, “mumblegore,” along the likes of Creep and V/H/S. 

The next film was 1974: The Possession of Altair (2016) directed by Victor Dryere, a Mexican ‘70s 8mm-stylized home video from the perspective of a newlywed couple who experience supernatural occurrences as they move into a house. Personally I find the found footage possession genre a bit overplayed (see Paranormal Activity, The Last Exorcism) but for anyone into possession movies I would recommend this moody flick. 

1974 Unnamed Footage Festival

1974: The Possession of Altair – Image courtesy of Unnamed Footage Festival

A group of feature films at the fest would satisfy the extreme exploitation gore hounds in horror. The first was Long Pigs (2007) a Canadian mockumentary on a serial killer cannibal who has a dream of publishing a cookbook for human meat, directed by Chris Power and Nathan Hymes. This movie was pretty funny and the serial killer at the center was as nice as a dad at a cookout. 

There was also some incredible special effects work going on, with multiple instances of people being cleaved in two while hung up and a really amazing time-lapse of a body being dismembered and prepared as if a pig at a butcher shop. 

Long Pigs Unnamed Footage Film Festival

Long Pigs, image courtesy of Unnamed Footage Film Festival

Next on the disgusting and disturbing list was Descent Into Darkness: My European Nightmare (2013), directed, written and starring Rafael Cherkaski. Now, when someone tells you a movie is disturbing, a horror fan usually scoffs and thinks yeah, right. Believe me when I tell you that this movie is no joke and truly is a “descent into darkness.” It is not for the faint hearted. 

A Latvian journalist sets off to make a documentary on “the European dream” which would have him traveling to various European countries to film his experience, however after running out of money and a series of harrowing events, the director starts to unravel. 

Descent Into Darkness Unnamed Footage Festival

Descent Into Darkness: My European Nightmare- Image courtesy of Unnamed Footage Festival

The last goretastic film wss Reel 2 (2020) from director Chris Good Goodwin. Another movie from the perspective of a serial killer, SlasherVictim 666, who actually is setting out to make a film as he believes he is “the greatest director who ever lived.” This is a sequel and I would recommend both to gorehounds as they feature really intense special effects, reminiscent of a lower budget Texas Chain Saw Massacre from the perspective of the family.

Outside of the extreme gore, I wasn’t really a fan of this, however I haven’t seen the first and have heard it is better. 

On the subject of gore, Harpoon director Rob Grant’s film Fake Blood (2017) is a pretty good faux documentary looking at the effects of violence in his previous films on real violence.

Fake Blood Unnamed Footage Film Festival

Fake Blood – image courtesy of Unnamed Footage Film Festival

Additional noteworthy films included a new cut of Murder Death Koreatown (2020), one of my favorite films of last year, that follows a white man that becomes convinced of a murder conspiracy after someone is murdered in the apartment complex next to him, which actually happened in real life. This film is completely anonymous and apparently most of the people he interrogates throughout the film are non-actors who were not aware that this was a film (which brings up questions of exploitation and ethics in filmmaking).

This new cut was given to the film festival as a VHS that was supposedly the only copy that existed, with instructions to destroy it immediately after airing, which they did on air by running it over with a car. The new cut, according to the festival coordinators, was the so-called “conspiracy cut” that emphasized the conspiracy at the center of the film and made it seem more real. It also included a new creepy beginning. 

Murder Death Koreatown

Murder Death Koreatown

The last film of the festival is perhaps one of the most crazy, batshi*t insane horror films I have had the pleasure of viewing. The Video Diary of Madi O: Final Entries (2012), with no director or cast attached, is a film that the festival personally vouched for as a future cult classic. I didn’t believe them for the first cringy half of this film but was definitely convinced by the end. I wouldn’t consider it a good movie, but I would definitely consider it a movie that will challenge your idea of what a horror movie is, or what a “plot” is. 

Final Entries The Video Diary of Madi O Poster

Final Entries The Video Diary of Madi O Poster – Image courtesy of Unnamed Footage Festival

The film follows two girls who decide to run away from home and find a house to squat in. That’s really all that can be said without spoiling the weirdness of this film, and also can be said coherently. It ties in legit academic film theory in in ways that make me question if the creator is a genius, or a madman. 

It is also available for free on Plex and has a very Blair Witch Project online campaign purporting the veracity of it, including a website to find the missing girls and a Petition. It resembles Megan Is Missing, but on lots of drugs. 

My top film from the festival is actually not a film at all, but an edited together version of a Youtube channel. I Am Sophie (2021) was a somewhat viral Youtube series that tricked a few different people into thinking it was real, starting off as a rich girl’s blog about her life. What it turns into, however, is a terrifying Alternate Reality Game (ARG) that will definitely stay on the mind after viewing.

I Am Sophie

I Am Sophie – Image courtesy of Unnamed Footage Festival

As it came out on Youtube with no indication that it was fake, I also think this film captures the spirit of the festival the best, as a realistic found footage experience with a fake Instagram going along with it. It also has a similar style to some Adult Swim horror infomercials, which I’m a fan of. 

Overall, this was a great festival, between the great collection of films and creative and artistic execution, this was probably one of the best film festivals I’ve “attended.” They will most likely return to a more traditional festival setting next year in California, COVID-19 willing, but anyone in that area I highly recommend to attend. 

Even if festivals do return to the real world in the future, I hope other festivals find ways to stylize and create an intimate and connected experience like this festival did, and I’m sure anyone who attending this year will remember that 24 hours fondly. 

All of the funds made by the festival went towards keeping theaters opened, and while the festival is over, if you still want to make a donation you can at this link. If you want to keep up with the Unnamed Footage Festival, they have a Twitter, Instagram and Facebook

Keep up to date with iHorror for more festival coverage, and look out for incoming reviews.

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Movie Reviews

SXSW Review: ‘Evil Dead Rise’ is a Non-Stop Gorefest Party That Never Lets Up




Klaatu Barada Nikto! Are the words used to conjure up Kandarian Demons have never let us down. It inspires chainsaws, boomsticks, and fun to explode across participating screens. From Sam Raimi’s game-changing 1981 film to the Starz series Ash Vs Evil Dead. Now, a host of deadites return with the latest blood-soaked experience, Evil Dead Rise. The latest entry in the franchise pumps new life and death through its veins by jumpstarting the film anew.

Evil Dead Rise begins with that familiar POV shot of the Kandarian force roaming the woods. As it picks up momentum, we are suddenly pulled out of the POV to realize that we are looking through a drone’s lens. The shot lets us know that we are in for a new era of the Evil Dead while having a bit of fun with expectation. The sequence brings us to a bunch of vacationing people having fun at a cabin by the lake. The introduction to these folks doesn’t last long before the possession of a Kandarian demon makes its self-known. Scalps are pulled blood is shed and the Evil Dead Rise in the short intro. We are then pulled back to the city a few days before the events at the lake.


We are then introduced to a small family with mom, Ellie (Alyssa Sutherland) her two kiddos (Morgan Davies, Nell Fisher), and her sister, Beth (Lily Sullivan) all living in a high-rise apartment building. When a major earthquake manages to open a hole in the floor the small family discovers The Book of the Dead.

It doesn’t take son Danny long to play the vinyl records that accompanied the book. Once again the Evil Dead is set free and within seconds all hell breaks loose and enters the body of mom, aka, Mom.

The familiar POV of the Kandarian forces pushes across the city streets before finding the tenement building. Once inside it doesn’t take long to find its first possession victim, Alyssa. Once possessed Alyssa makes her way back to her family in their apartment home and as you could have guessed it doesn’t take long for souls to begin being swallowed and for blood, guts and viscera to begin flying.

Evil Dead Rise does a great job of keeping its evil foot pressed firmly against the gas pedal.  Once we are introduced to this poor family and their apartment home, the horror, action and fun doesn’t stop coming.

Director, Lee Cronin, (The Hole in the Ground) fits perfectly into the Evil Dead family. He manages to create enough of his own vision of the Kandarian Demon hellscape to make it his own while also giving us cornerstone moments filled with boomsticks, chainsaws, over-the-top horror, and the classic Demon voice that Sam Raimi fostered in his films. In fact, Cronin takes that Kandarian demon voice even further. He manages to create a full-on character by way of possessed Ellie that resonates and becomes more incendiary throughout.

Cronin manages to create that new villainess voice by way of Alyssa Sutherland. The actress goes through the motions going from struggling mother to a terrifying and completely memorable deadite queen. She remains throughout the film. Each scene sees the actress meeting the physical challenges of the role as well as the all-out evil villainess parts of the role with exceeding perfection. Not since Bad Ash has a Kandarian Demon stood out as memorably as Sutherland’s mom breaking Evil Dead bad. Hail to the Evil Queen.

Cronin also manages to create a world that may contain the other two Necronomicon books that we have seen in the past. He leaves room in the story to believe that both Bruce Campbell’s Ash and Jane Levy’s Mia may all exists with their own respective books of the dead. I love the idea that there are more than one Necronomicon in play and the director bravely opens up that possibility.


Beth (Lily Sullivan) becomes our knight in bloody armor here. Sullivan steps into the blood-soaked role of our new heroine with gusto. It is easy to love her character early on and by the time we see Sullivan bloodsoaked, with chainsaw and boomstick in tow we as an audience are already head over heels and cheering.

Evil Dead Rise is a full on non-stop gorefest party that starts up fast and doesn’t let up for a second. The blood, guts, and fun never stop or give you a chance to breathe. Cronin’s high-rise nightmare is an exquisite chapter in the world of The Evil Dead. From start to finish the party doesn’t let up for a second and horror fans are going to love every second of it. The future of The Evil Dead is safe and ready for more souls to swallow. Long live the Evil Dead.

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Movie Reviews

‘Dark Lullabies’ Film Review



Dark Lullabies is a 2023 horror anthology film by Michael Coulombe consisting of nine tales creating a run time of 94 minutes; Dark Lullabies can be found on the Tubi Streaming Service. The film’s tagline, “Guaranteed to tuck you in and rock you to sleep,” is clever and suitable. I am a sucker for anthology films and series, so I was very excited to check this out. I had seen a few of the short stories already, but it was a real treat to revisit these gems.

So let’s dive right into it; this isn’t a film loaded with special effects, so if that is what you’re looking for, you may want to wait for the new Transformer film to release this year. Dark Lullabies is a film that allowed its creators to spread their wings and produce content, which I am sure was on a shoestring budget.

I’ve heard that the most popular obstacles for any production are time and money. Out of the nine tales, a few have an emotional hold over me, for many reasons, from the story, the acting, and the direction. A similar trait that these horror tales held was that I wanted to see each as a feature, as I felt there was more story to tell, and now it was up to me to use my imagination to fill in the blanks, which is never a negative.

Before I get into what I specifically enjoyed, I will point out a few flaws I had with the overall film. I understand at times, because of the powers that be, certain decisions are made, it is out of reach for the creative minds, and they can’t specifically make certain decisions. I believe the entire film would have flowed better if the title cards were placed at the beginning of each segment (some were). This would avoid confusion about one segment ending and another beginning; at times, the viewer may think they are still on the same segment because of the transition.

Lastly, I would have liked to have seen some creepy or slapstick funny host; some of my favorite anthologies had horror hosts, and I believe it would have added that final gloss over to the film. None of this was a deal breaker, just something I would have liked to have seen. I enjoyed all of the segments in Dark Lullabies; there are a few that I would like to mention specifically.

“Dark Lullabies is a culmination of 9 of my short horror films; each segment dealing with the horrors cause by people and the choices they make. Horror is not always a monster or a man in a mask. Jealousy, ego, abuse, cruelty, cheating..there are all kinds of subtle messages throughout Dark Lullabies.” – Director Michael Coulombe.

Segment – ‘Love Me Not.”

First up is the segment “Love Me Not.” I was particularly keen on this one because actress Vanessa Esperanza seamlessly delivered a lengthy monologue for nearly the segment’s duration. Jenny has experienced a broken heart countless times but will teach all her ex-boyfriends a deadly lesson on Valentine’s Day. I would have loved to have seen more of the story focusing on where Jenny’s story began and what the final straw was bringing this character to her breaking point. This segment was well-written and directed.

Segment – “Bag of Tricks.”

Second, on my list is “Bag of Tricks.” With a run time of sixteen minutes, this segment delivers a satisfying blend of terror, exceptional acting, and cinematography that’s on point and makes for that perfect story to tell on Halloween. This will satisfy your Halloween craving and is watchable any time of the year.

The segment focuses on a couple answering an ordinary Halloween evening knock at the door, turning the night into a chilling ordeal for both lovers as they meet Timmy, the ghost. I must say, the presence of the ghost costume is downright hair-raising! I hope that at some point, Writer Brantly Brown and Director Michael Coulombe will deliver us a feature, as I know so much more can be told.

Segment – “Silhouette”

My third mention is “Silhouette.” It is amazing how being polite to someone could have paid off for the gentleman in this segment. With a run time of about eight minutes, Silhouette delivers a powerful punch, and again, the concept, if expanded on, I believe would make a great feature. I am always in the mood for a good ghost story!

Segment – “Stalk.”

My fourth and final mention is “Stalk.” This story was clever and simple, which made it very unnerving. Do you ever feel as though someone is following you? What would you do if that was your reality and someone was stalking you? Would you run, hide, or fight back? Stalk will be sure to leave your appetite howling for more!

Dark Lullabies is a decent anthology that allows these talented individuals to showcase their art, and I hope to see more of this in the future. From the planning, coordination and management, directing, and editing, I know a lot of heart and thought went into producing each of these nine shorts. Remember to check Dark Lullabies out on Tubi.

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Movie Reviews

REVIEW: ‘Scream VI’ Is an Action-Packed, Galvanizing Tour de Force



I kinda wish I could say that the Scream franchise has jumped the shark with this latest chapter — we all know that day is coming — but it hasn’t. Not this time.

We might have the “core four” to thank for that. The “core four” consists of last year’s survivors, Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown), and Chad (Mason Gooding). That accolade doesn’t just go for the on-screen characters, but Scream VI has some of the best damn young actors in Hollywood today.

L-r, Hayden Panettiere (“Kirby Reed”), Jasmin Savoy Brown (“Mindy Meeks-Martin”), Jack Champion (“Ethan Landry“), Melissa Barrera (“Sam Carpenter”), Jenna Ortega (“Tara Carpenter”), Mason Gooding (“Chad Meeks-Martin”) and Courteney Cox (“Gale Weathers”) star in Paramount Pictures and Spyglass Media Group’s “Scream VI.”

Easter Egg Hunt

This review is going to be somewhat short because I don’t want to give away any spoilers or inadvertent clues to this edge-of-your-seat thrill ride. But I will move forward as if you have already seen the last film, so if you haven’t, check it out before you see Scream VI, there are a lot of things you should know that are going to make your experience a lot richer.

Cold Open

First, let’s start with the ubiquitous cold open. Scream VI has the weirdest and most satisfying prologue since four. Again, it is better that I don’t mention what it involves because that’s part of the fun. But I will tell you that Easter has come early because there are eggs everywhere. If any movie can get you to watch it twice, it’s this one. Once, for the main action, and again to for the IYKYK treasure hunters.

Ghostface in Paramount Pictures and Spyglass Media Group’s “Scream VI.” © 2022 Paramount Pictures. Ghost Face is a Registered Trademark of Fun World Div., Easter Unlimited, Inc. ©1999. All Rights Reserved.”. Ghost Face is a Registered Trademark of Fun World Div., Easter Unlimited, Inc. ©1999. All Rights Reserved.”


Scream VI has the most action sequences of the first three films combined. This is like the Die Hard of horror. Again, giving anything away is not going to make us feel good so we’ll move on. But suffice it to say that there are some real nail-biting showpieces that never had this much bang in past films. I found myself yelling at the screen amongst my journalistic colleagues and I never do that. This is a fun ride in a full theater so don’t go through all your popcorn in the first 30 minutes.

L-r, Melissa Barrera (“Sam Carpenter”) , Jenna Ortega (“Tara Carpenter”), Jasmin Savoy Brown (“Mindy Meeks-Martin”) and Mason Gooding (“Chad Meeks-Martin”) star in Paramount Pictures and Spyglass Media Group’s “Scream VI.”

Family & Core Four

In Scream (2022) there was a heavy emphasis on family. We got to see Sam’s slow descent into madness while trying to stave off Ghostface. Eventually, her psycho superpower was enough to beat the killer with the help of Master Yoda…er, Daddy Billy Loomis. Scream VI is forged on the strength of extended family. As Dom Toretto would say, “I don’t have friends, I have family.” And of course, there is the sisterly relationship between Sam and Tara. Only a year has passed since the events in Woodsboro and they haven’t had time to heal, let alone understand how to move forward. Both Barrera and Ortega have so much talent.

Ghostface in Paramount Pictures and Spyglass Media Group’s “Scream VI.”

Recall Factor

I said before that you should watch the 2022 Scream before Scream VI. I would also recommend you watch all of the Scream movies before heading into this one. Whereas in Scream (2022) fandom was cut down to size, Scream VI is an Oscar speech to aficionados of the franchise. It is going to be helpful as a fan to have a refresher, and helpful to people who only casually watch for reference points.

Let’s put it this way: if you have never seen a Scream movie you will still have fun, but you run the risk of ruining your date’s post-movie high by asking a lot of questions. Don’t do that. Do your homework.

L-r, Melissa Barrera (“Sam Carpenter”), left, and Jenna Ortega (“Tara Carpenter”) stars in Paramount Pictures and Spyglass Media Group’s “Scream VI.”


Scream VI has such a solid backbone it can stand on its own. Enough can’t be said about this talented group of actors. They really appreciate the franchise.

You have to remember some of these actors weren’t even born when the first Scream was released. In fact, Ortega wouldn’t come into the world until seven years later. That means everything Wes Craven did by re-inventing the horror rules back in 2009, a refreshed generation has entered the picture and re-invented their own. Just as we millennials appreciated what the original movie did back then, a whole new crowd is going to appreciate what it does today. Craven is applauding from the grave.

So yes, Sidney might be missed in spirit, but you’ll hardly know she’s gone. Or is she?

The Unmasking (No Spoilers)

As with all the Ghostface movies, there comes that element of anticipation as you try to figure out who is holding the knife and wearing the mask. That final 10 minutes when the killer is revealed and the audience lets out a collective “ooohhh…!” If the filmmakers have done their job, the reveal leaves us with “that tracks” rather than “I knew it!” Scream VI follows that same formula where it’s not so much the destination as it is the journey. I won’t say anything more about that.

Final Thoughts: Scream VI

Bloodier than the ones before it. With more action than in recent memory, and a cast full of talented actors, I bet Scream VI is going to float to the top of franchise favorites. While the formula is relatively unchanged, the movie still has tons of surprises. This can’t be said for vintage slashers of the past.

Scream continues to change the game (and the rules) and so far, it has worked; no sharks have been jumped. Until that day comes, the king of slashers still reigns supreme.

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