Some aspects remain constant, and this can be both positive and negative. It's disappointing when things like the overly noticeable sound of knives being sharpened appear, or when Dewey Riley, formerly a deputy, makes a statement such as “You have to shoot 'em in the head, or they always come back.” The very existence of this new Scream demonstrates that their return is unavoidable regardless. This film represents a repetition of slasher history in numerous ways; beyond revisiting this particular series, it incorporates a significant plot element from Freddy's Dead: The Final Nightmare – something I won’t disclose but those familiar with the genre might suspect. Despite all of that, Scream ‘22 leans more toward being good than bad overall. Staying true to its origins, this installment functions as an examination of modern mainstream horror films. It is a prime example of what's known as a “requel”—similar to recent Halloween movies or Texas Chainsaw Massacre—and by "prime example," I mean there’s even a scene where a character explicitly explains the concept of a requel and how it operates. I also appreciate that it acknowledges one of my least favorite storytelling devices, which I refer to as Chekhov's Inhaler. I referenced Halloween and The Texas Chainsaw Massacre earlier, but in reality, Scream ‘22 joins the much stronger company of Wes Craven’s New Nightmare and last year’s Candyman (appropriately, the film is dedicated to Craven’s memory and gives Jordan Peele recognition). This Scream's frequently repeated motto is “always go back to the original,” which is sensible advice because, like Nightmare on Elm Street, this franchise originated as intelligent horror that has gradually become less sophisticated with each subsequent installment—unlike Friday the 13th, for instance, which was initially conceived as something unsophisticated. Fortunately, this film was created by individuals who understand and value their source material and don’t treat audiences as unintelligent. As a result, when characters send text messages, the words show up on their phones rather than on the screen we're watching from, and when someone is stabbed, they bleed realistic fake blood instead of a cascade of red pixels (and in an era where CGI is commonplace, any horror film that utilizes practical effects immediately doubles its visceral effect). I’ll simply add that, similar to New Nightmare and Candyman ‘21, Scream ‘22 represents as much of a return to form as it does a suitable conclusion. It's my hope that this film fulfills its promise of “After tonight, no more books, no more movies, no more f***ing Ghostface.”

Source on TMDB