"Scream was great for what it was. For a horror film, it was intelligent, it was funny, it took a laugh at itself"
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Neve Campbell’s praise lands because it treats Scream less like a “genre movie” apology and more like a permission slip: horror can be smart without sanding down its trashy pleasures. “Great for what it was” sounds modest, but it’s a coded defense of a film that knew exactly what audiences and critics assumed about slashers in the mid-’90s - that they were disposable, formulaic, maybe even embarrassing to admit you liked. Campbell flips that stigma into a feature. The movie’s intelligence isn’t academic; it’s street-level media literacy. Characters talk like they grew up on the same VHS diet as the audience, and the script weaponizes that shared knowledge.
The line “it was funny” isn’t just about punchlines. It’s about relief: Scream turns fear into a social experience, the kind where you scream, then laugh at yourself for screaming. That laughter is a release valve and a bonding mechanism, making the violence feel simultaneously heightened and strangely safe to watch.
“It took a laugh at itself” names the real trick: self-awareness as camouflage. By admitting the rules of horror, Scream earns the right to break them, and by winking at the camera, it disarms cynicism. Coming from Campbell, the face of a new “final girl,” the comment also protects the performance: she isn’t trapped in a dumb slasher; she’s in a movie that knows the slasher is a costume - and wears it with swagger.
The line “it was funny” isn’t just about punchlines. It’s about relief: Scream turns fear into a social experience, the kind where you scream, then laugh at yourself for screaming. That laughter is a release valve and a bonding mechanism, making the violence feel simultaneously heightened and strangely safe to watch.
“It took a laugh at itself” names the real trick: self-awareness as camouflage. By admitting the rules of horror, Scream earns the right to break them, and by winking at the camera, it disarms cynicism. Coming from Campbell, the face of a new “final girl,” the comment also protects the performance: she isn’t trapped in a dumb slasher; she’s in a movie that knows the slasher is a costume - and wears it with swagger.
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| Topic | Movie |
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