Postmodernity and irony requires self-knowledge and it’s very easy for that sense of knowing to come off as smug. That’s the case when SCREAM ironically riffs on the idea of the legacy sequel, the requel, but does so without the core of sincerity that something like THE MATRIX RESURRECTIONS or STAR WARS: THE FORCE AWAKENS has. The film is best when it’s good stabby fun and it’s not jamming in emotional crescendos for characters who have only just turned up. The scene of Wes (Dylan Minnette) opening multiple doors and the music heightening only for it to be a fake out every time could have gone on for hours and delighted me every time.