Post by Salzmank on Sept 5, 2018 17:06:26 GMT
I’m not a slasher fan, but this one’s fun and the script’s smart (not just the meta humor, also the character personalities and some of the dialogue). The mystery stuff is also good—Williamson plays fair throughout, giving the audience all the clues. I guessed pretty early on that
Nice callback to other horror flicks, and nice direction by Craven as well. In almost every detail except mystery-plotting, though, the 2nd one is better.
As kolchak92 mentioned, it doesn’t exactly hold up to re-watching; once you know the twists, it goes through these longueurs where it moves very slowly, with lots of red-herrings but little substance. The plot-holes and dead-end scenes also stick out like a sore thumb; in particular, so many just-introduced characters are killed unexpectedly, just as they were getting interesting and with little emotional response from the characters. The stuff with Cotton What’s-his-name, the Liev Schreiber character, is also rather irrelevant to the plot, and the solution to that mystery is thrown in senselessly at the end, as if Williamson had just remembered it.
I shouldn’t be too negative, though, as I did enjoy it a lot the first time I saw it.
Billy was the killer—it’s that old Agatha Christie chestnut, making the most-obvious suspect the murderer, and Ghostface’s failed attack on him is a ruse from Christie and about a million ‘30s mystery b-movies—but I couldn’t figure out his alibi. That he and Stu were in together was a pretty neat twist, though in retrospect I can’t believe I didn’t see that he had to have an accomplice to be the murderer.
Nice callback to other horror flicks, and nice direction by Craven as well. In almost every detail except mystery-plotting, though, the 2nd one is better.
As kolchak92 mentioned, it doesn’t exactly hold up to re-watching; once you know the twists, it goes through these longueurs where it moves very slowly, with lots of red-herrings but little substance. The plot-holes and dead-end scenes also stick out like a sore thumb; in particular, so many just-introduced characters are killed unexpectedly, just as they were getting interesting and with little emotional response from the characters. The stuff with Cotton What’s-his-name, the Liev Schreiber character, is also rather irrelevant to the plot, and the solution to that mystery is thrown in senselessly at the end, as if Williamson had just remembered it.
I shouldn’t be too negative, though, as I did enjoy it a lot the first time I saw it.