The latest horror movie SCREAM 6 had promotion built on the fact that it would differ from previous entries in the series both in that is moving to the big city and that the killer/s will be the most violent of all the episodes. Nothing that would exactly appeal to someone who likes the franchise for its entertainment dimension, based on reflecting conventions, clichés and trends in genre production, as the characters know other horror films, talk about them and learn from them. However, someone who knows the history of the genre, and thus would probably understand some of the fan characters, knows that Scream he was not the first in self-awareness and self-reflexivity. Not even the first one, which was released in cinemas in 1996. On the contrary, it was an exceptional graduate, as in this one.
At the same time, she preceded the first scream that came out of the mouth of Drew Barrymore in number one A new nightmare (1994), in which the killer Freddy returns thanks to the fact that another part is filmed about him, or Candyman (1992), which explored the relationship between urban legends as horror narratives and real social horrors. If we were to go even further, we would find in the 1980s greatly exaggerated murder scenes or thrillers by Brian De Palma, which are set in a film environment (Shot a A double) – and Dario Argento did something similar in Italy (for example with the film Darkness about the killer inspired by the pulp writer’s novel), to which both De Palma and the directing duo Matt Bettinelli-Olpin and Tyler Gillett paid tribute in the pre-title scene Scream 6.
If the franchise stood out Scream something, then within the subgenre of slasher (killer) with an emphasis on likeable and developing positive characters, while the murderer/murderer alternated with each work. For established series-brands like Friday the 13th, A Nightmare on Elm Street or Child’s Play/Chucky it was the other way around, as the villain was the only constant element, despite being (seemingly successfully) disposed of at the end of each installment. According to critic Marek Slovák, this is one of the many advantages of the latter Screaming: “Not only is this part really exciting and funny, often at the same time, but we are also afraid of characters that we like, that are somehow profiled, that are going through development. And both new, from the previous part, as well as those from the original four parts, which were directed by Wes Craven and mostly written by Kevin Williamson.”
Scream 6. (2023) | Forum Film CZ
According to Mark, for whom the five from the new directing duo called Radio Silence was a disappointment, the sixth episode “was helped by the move to New York, which is really exploited: it works both with the fact that some dwellings are close to each other, which allows for last-minute rescues, even with the distance, which complicates the rescue at the last moment – and especially with the size of the crowd and anonymity, when anyone can be a murderer and jump on heroes and heroines from anywhere. In addition, there is a proper game of cat and mouse, as well as the reversal of this dynamic, which has recently been forgotten, with exceptions. The really exciting game of cat and mouse here is the best of the two, which is remembered and which varies by far the most.”
Marek in Scream 6 scared, excited and entertained 90 %.
The conscience of a hateful nation
Jaroslav Miko. A trucker who co-founded the initiative Czechs help, within which he is involved in helping refugees. First to forty orphans from a Greek refugee camp, then to Ukrainians, especially Roma. In both cases, groups that are not getting proper help because the state is failing, so civil society has to step in. Politician Jan Farský (STAN) called him the conscience of the nation thanks to this. Robin Kvapil decided to make an observational time-lapse documentary about Miko, which was presented at the Jihlava Documentary Festival last year, and this year it will also be shown in selected cinemas and on the DAFilms platform, where it can be purchased and played.
MORE MIKOwhich is the name of the film referring to the half-Roma origin of the title character, is, according to historian and critic Maria Barešová, “one of the most impressive I saw at the documentary festival in Jihlava”. It is most impressive mainly because it is “convincing, intense, without any emotional blackmail”, and for the reason that it focuses on “an admirable human story full of determination and perseverance of a person with a good and big heart”. While watching, Marie experienced “feelings of admiration as well as frustration and shame for her own country”, because “the incompetence and cowardice of the political representation is shown”.
Marek agrees with Maria, he just thinks that “the documentary achieves its greatest impact when it shows the hatred of the domestic society, which has a problem with Mike’s help to people in need. This is exemplified by the leitmotif with the washing machine, in which Miko watches videos from the refugee camp, where there was a fire due to the lack of interest in the political representation, and later washes off the sign ‘Chcípni’ on the car. According to Mark, it is More Miko “more than a portrait of a remarkable personality, because the document is valuable for relating the personal to society and above all to politics. The role of political activation of the Roma is admittedly neglected and insufficiently elaborated, which is a shame also from a dramaturgical point of view, but the recurring dealings with politicians perfectly show disillusionment with past and present political representation and especially with its hypocrisy.
More Mikofunctioning in some places as a political thriller (or a drama of conscience), has from Marie and Mark 80 %.
The critic of Kulové Blesk also devoted himself to the documentary INVESTIGATOR about the still unsolved war crimes in the former Yugoslavia and Alberto Serra’s latest artistic provocation PACIFICTION. You can listen to their opinions in the podcast or watch them in the videocast.