Alex Denney surveys the horror genre over the past decade
was the new noise on the horror-film block. Reviving a genre that had sunk into straight-to-video oblivion by the mid 90s, Wes Craven’s slasher equipped its characters with intimate knowledge of the genre, allowing its cast of would-be final girls and boys to survive by acknowledging that you don’t, for instance, go outside to check what that noise is, because past viewing experiences tell you the chances of you ever coming back are … slim.
Is there something deeper going on here? On the surface, the scene plays as exactly the sort of postmodern nudge-winkery for which the franchise became famous, calling back to the first film’s infamous opening scene. But in the touchy year of 2022, it also feels like shots fired in the ongoing culture wars, Ghostface’s violent opprobrium setting two schools of horror – one trashy and primarily focused on body-count; the other studied, cerebral, unmistakably metropolitan-elite – in opposition.
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