Scream VI review – The franchise has finally managed to create the same fear and tension as the original

Scream VI

(18) 122mins

★★★★☆

“WHAT’S your favourite scary movie?” is the question that has been asked by a terrifying voice on the phone for 27 years.

And hearing it again in the opening scene of this film can only mean one thing: Scream is back.

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When it first hit the big screen in 1996, audiences were scared to hysteria by this sexy, funny and terrifying movie that shockingly killed off then-superstar Drew Barrymore in the first few minutes.

It was different, edgy and a breath of fresh air for the horror genre.

Now this, the sixth offering from the franchise, has had to dust itself off after a difficult and very patchy four and five, to try to create the same fear and tension.

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And I’m delighted to say, it has.

This is the stab of scare the bloodthirsty franchise needed to get it back on track.

The opening scene has a familiarity about it that is, somehow, comforting to a lover of the franchise — a woman on the phone going from relaxed to fearing for her life.

While this set-up is a well-trodden path, this version feels fresher with the victim waiting for her blind date to arrive at a busy bar.

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She, sadly, never meets the love of her life.

Then we are back with Sam (Melissa Barrera), who along with her sister Tara (Wednesday’s Jenna Ortega), had to duck and cover from Ghostface in Scream V.

Along with fellow survivor friends, they have left Woodsboro to try to start a new life in New York.

But soon, Ghostface rears his ugly mask again and they have to dodge the relentless stabbing knife.

The death count is high, the attacks vicious and the masterplan of the murderer more despicable than ever.

Once again, Scream is set in a world where there are some serious superfans of the changeable serial killers.

And releasing the repetitive storylines over the years, they relentlessly poke fun at the film franchise and all that has happened before it.

Neve Campbell as Sidney Prescott clearly decided against this one — her first no-show in the franchise.

But journalist Gayle Weathers (Courteney Cox) is there, representing the original.

There are­ jumps, twists, gore and a scene on the sub- way that will make you dodge public transport on Halloween for years to come.

Champions

(12A) 124mins

★★★★☆

THIS follows the well-worn road in the feel-good movie genre of an unlikeable lead learning a humbling lesson and then finding love.

But new basketball flick Champions delivers a slam dunk by spinning the overused storyline into a vulnerable and authentically funny film that will leave you laughing from start to finish.

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Hot-headed assistant basketball coach Marcus (Woody Harrelson) is ordered to carry out 90 days of community service after crashing into a police car while drunk.

This sees him lead an intellectually disabled team, The Friends, who in turn teach him how to empathise.

His gang includes guit­arist Cody who “gets all the chicks”, sassy Ms Cosentino and superstar Darius, whose refusal to play leads Marcus to his atonement.

It’s an acting masterclass from the disabled cast, who deliver a perfect blend of heart and hilarity.

Among the breakout stars is Kevin Iannucci, who plays animal lover Johnny.

The Friends’ talents are complemented by skilful performances from Harrelson and love interest Alex (Kaitlin Olson), who shine without stealing the spotlight.

The Middle Man

(15) 95mins

★★☆☆☆

I HATE to be the bearer of bad news, but this black comedy about a man whose job is to do just that, is neither funny nor sad.

Written and directed by Norwegian filmmaker Bent Hamer, it is the story of a non-descript guy called Frank (Pal Sverre Hagen) who gets the official role as his town’s “middle man”.

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This means he is the one to deliver the news to next-of-kin when the police have had to deal with a death.

In this small, sad town of Karmack, USA, where jobs and money are rare, Frank is just delighted to get a ­paycheck.

But soon he is mixed up in all sorts of problems, ­including giving the wrong people bad news.

The film itself is nicely made with shots of the bleak, boarded-up town ­giving a clever, claustrophobic sensation.

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But with a very patchy script, deadpan humour that never hits the right note and a lead character that you quickly lose faith in, it soon becomes one note and undeveloped.

You are left feeling that perhaps it would have been better to cut out the middleman.