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‘Scream 7’ Review: A Franchise That Has Long Past Its Prime

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  Ghostface and Neve Campbell return with the seventh instalment of Scream , with Kevin Williamson in the director’s chair for the first time in the entire franchise, but is Scream 7 the movie that people were hoping for, or is it about time we close the curtains on this franchise for good? Where do I begin with this review? I’ve not been a lifelong Scream fan because I only recently watched the franchise in 2022, but when I first watched Scream (1996) , I quickly found a horror movie that I had fallen in love with. I continued watching the franchise with Scream (2022) and Scream VI having been released and was just impressed with how a franchise could still feel so refreshing after existing for so long. With Scream 7 being helmed by Kevin Williamson, the man who created the franchise, you’d think there would be some potential, but this film is proof that some writers shouldn’t tap into the directing scene and should stick in their lane. It goes without saying, usually when yo...
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Hamnet review – Paul Mescal and Jessie Buckley beguile and captivate in audacious Shakespearean tragedy

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Hamnet review – Paul Mescal and Jessie Buckley beguile and captivate in audacious Shakespearean tragedy This article is more than 2 months old Chloé Zhao’s film version of Maggie O’Farrell’s myth-making novel powerfully reimagines the agonising loss of a child as the source of Hamlet’s grand stage drama Peter Bradshaw Tue 6 Jan 2026 07.00 GMT Share Prefer the Guardian on Google ‘T he joys of parents are secret, and so are their griefs and fears …” This is Francis Bacon’s essay Of Parents and Children; maybe they were more secret in his day than ours. This kind of secrecy and revelation is part of Chloé Zhao’s deeply felt romantic fantasy about the origin of William Shakespeare’s tragedy Hamlet. It locates the play’s beginning in the imagined anguish of Shakespeare and his wife Agnes (or Anne) Hathaway at the death of their son Hamnet at the age of 11 in 1596, a few years before the play’s first performance. The nearness of the names is not supposed to be some monumental Freudian slip; ...
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