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    Movie Review

    Scream VI whimpers with reminder that Ghostface needs to go down for good

    Alex Bentley
    Mar 10, 2023 | 5:30 pm

    The reboot of the Scream franchise in 2022 might have been intended to be dumped in the dead zone of January, but its unexpectedly high $81 million box office put a sequel on the fast track. And it’s a good thing they did, because the new young cast members – notably Melissa Barrera, Jenna Ortega, Jasmine Savoy Brown, and Mason Gooding – are hot properties and getting hotter by the minute.

    Scream VI finds the foursome away from the cursed town of Woodsboro, as they have all relocated to the notoriously safe New York City together. Tara (Ortega) and twins Mindy (Savoy Brown) and Chad (Gooding) are students at the fictional Blackmoore University, while Sam (Barrera) does her best to keep Tara safe after reconnecting with her sister in the previous film.

    The emergence of a new Ghostface killer not only puts all of them at risk, but also new roommates Quinn (Liana Liberato) and Ethan (Jack Champion), as well as Sam’s new love interest, Danny (Josh Segarra). Helping to track down the killer (or killers) is Det. Bailey (Dermot Mulroney) and Kirby Reed (Hayden Panatierre), now an FBI agent after being terrorized herself in Scream 4.

    Still sticking with the credo of “If it ain’t broke, don’t fix it,” the filmmakers – returning co-directors Matt Bettinelli-Olpin and Tyler Ginnett, and returning co-writers James Vanderbilt and Guy Busick – go back to the same formula seen many times before over and over again. The killer attacks, manages to stab a victim or two before getting hit by a blunt object, disappears mysteriously after the protagonists are distracted, rinse and repeat.

    At this point it would be surprising if they deviated much at all from what is expected, since fans don’t seem to mind the repetition. That’s not to say that the film is completely devoid of entertainment. The brutal opening scene, another hallmark of the series, manages to bring a degree of cleverness to the film. And even though most of the kills are telegraphed, the level of violence will satisfy any hardcore horror fan.

    However, the film too often takes the easy road. It’s set around Halloween, so that hordes of people roaming the streets in masks, many of them Ghostface ones, seems natural. Instead of raising the tension, it somehow takes it away as the filmmakers can’t use the idea properly. Sam being haunted by her parentage once again plays a big part in the story, but just as in the last film, it doesn’t add up to much.

    The lack of good material is a crying shame, as the film truly does have a gem of a cast. Ortega is at the top of everyone’s list after the Netflix show Wednesday and other recent roles. Barrera has the charisma and the looks to be the star in many more projects. And Savoy Brown and Gooding have the goods to easily slide back and forth between movies and TV.

    In the Scream franchise, Ghostface will never die because there will always be someone new who’s willing – or psychotic enough – to don the mask and do some more slashing. But unless filmmakers are able to inject some new ideas into the mix, it might be best to let the series die, once and for all.

    ---

    Scream VI opens in theaters on March 10.

    Ghostface in Scream VI

    Photo courtesy of Paramount Pictures

    Ghostface in Scream VI.

    Hayden PanatierreJenna OrtegaReboot of Screamfilmmovies
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    Movie Review

    Chris Pratt fights for his innocence in popcorn thriller Mercy

    Alex Bentley
    Jan 23, 2026 | 2:00 pm
    Chris Pratt in Mercy
    Photo courtesy Amazon Content Services
    Chris Pratt in Mercy.

    It seems like every other movie set in modern times being released these days includes either a reference to or a plot revolving around artificial intelligence. In the real world, the benefits of the technology compete with its downsides, but when it comes to movies A.I. is almost always seen as a threat, including in the new film Mercy.

    The audience is thrown headlong into the slightly futuristic story involving LAPD Detective Chris Raven (Chris Pratt), who finds himself strapped in a chair in a sparse room, being told that he is on trial for killing his wife. Turns out he’s in a court dubbed “Mercy,” which is overseen by an AI judge named Maddox (Rebecca Ferguson). By the rules of the court, Raven has 90 minutes to provide reasonable doubt of his guilt, or he will be executed on the spot.

    Raven is in a multi-pronged quandary: Not only does he believe he’s innocent despite a trove of evidence pointing to his guilt, but he’s also the poster boy for the law enforcement side of the equation, having arrested the first man who went to Mercy. Anger and disbelief for Raven turn into acceptance, which then turns into him tapping into his detective skills, scrutinizing every shred of evidence the court provides him in a desperate attempt to save his own life.

    Directed by Timur Bekmambetov and written by Marco van Belle, the film is a relatively propulsive thriller despite having a so-so story and even worse acting. The film is told in real time (with a few fudges here and there), so the concept alone of a man trying to prove his innocence in a short amount of time provides good intrigue. Bekmambetov’s use of digital elements as Raven scrolls through files or calls potentially exculpatory witnesses like his partner, Jaq Diallo (Kali Reis), keeps the film visually interesting.

    On the other hand, the swift viewing of videos and documents by Raven, not to mention the high degree of cooperation by Judge Maddox, opens up more than a few plot holes. The filmmakers try to explain away a few leaps in logic by having Raven falling off the sobriety wagon the night before, but they can only use that excuse for so long. They also have the AI judge experience technical glitches along the way, errors that seem to point toward a wider conspiracy until they’re completely forgotten.

    More than anything, it’s difficult to get over the wooden acting of Pratt and the misuse of other usually reliable actors. Pratt has no real presence, especially when he’s confined to a chair, so any emotion he tries to conjure up comes off as contrived. Ferguson is done no favors by a role that shows only her upper body and has her alternating between robotic and oddly sympathetic. Reis earned an Emmy nomination for True Detective: Night Country, but has little to do here, a fate that also takes out Chris Sullivan as Raven’s AA sponsor.

    If you’re okay with turning off your brain for a little while, Mercy can be an enjoyable watch. But if you find yourself scrutinizing why characters make the odd decisions they do, or the wishy-washy way the film approaches AI in general, then you’re likely to find the whole thing lacking.

    ---

    Mercy is now playing in theaters.

    moviesfilmchris prattrebecca fergusonmovie review
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