“I remember seeing the last Scream and being so stoked because I loved the way they revamped everything,” she says. Sure, in this new instalment the Woodsboro gang have relocated to New York in search of a fresh start, but Ghostface is never far behind – and this time around, as the film’s trailer promises, the killer is “something different”. Just as well: Liberato, 27, is a huge fan of both horror films and the Scream franchise, which was rebooted last year by Bettinelli-Olpin and Gillett to much fanfare, with the film starring the likes of our last issue’s cover star Jenna Ortega and Yellowjackets favourite Jasmin Savoy Brown. There were a few days of torture while I was waiting to hear back and when I found out, I sobbed my eyes out. “I remember writing on my dummy right after : ‘I booked Scream’. It’s “chaos” all around right now, as Liberato puts it, though you wouldn’t be able to tell from the carefully curated flower arrangement placed behind her. “I immediately felt a connection with ,” she says, Zooming in from her new home in Los Angeles, long hair freshly coloured a vibrant red just in time for the Scream IV press tour. All-in-all, while the producers obviously felt they were providing a credible presentation of an important subject - they missed their mark by the proverbial "mile.A week before Liana Liberato bagged her role as Quinn Bailey in Scream VI (the sequel to 2022’s Scream), she could feel it in her bones. The scene towards the end where Ulrich is alone in the house with her (before Birney arrives, incensed about this), where he delivers a monologue with an attempt to gain some father/daughter rapprochement, is perhaps even weaker than the 1-3/4 hours which preceded it. The daughter, Tess, played by the attractive young Shawna Waldron, gave a decent performance, but one imagines it was less than it could have been, based upon the other characters/performances/story presentation. And even the "revalations" gained from the therapist and mother were presented in a thoroughly unengaging manner. Incidentally, the latter was a thoroughly selfish, unfeeling individual, and while apparently not physically abusive, would otherwise rate behind Joan Crawford in a Mother-of-the Year contest. Although Urich's "Jack" was already aware of his childhood tribulations, Meredith's "Carol" became aware of hers late in the presentation, as a result of the inevitable "dream," and then dialog with her widowed mother (Diane Ladd). Her scenes with the therapist were weak - on the part of both characters - and did little to enlighten or portray a realistic therapeutic benefit to her in any way. Birney has played many roles of women riddled with angst, some due to persons menacing or otherwise mistreating her characters - and some where her character has been a raging sociopath. Urich died not long after the film's release, from cancer which he had battled for some time - and the whimpering, lethargic performance can probably be in part blamed upon the physical and emotional real-life problems he was encountering. I do not see how, based upon the way this story was presented, anyone could feel an iota of sympathy for either. Urich and Baxter are attractive people, and their work in active careers has been credible if not remarkable. However - despite the subject matter, this is a bad movie. To add to this, if it weren't enough, it turns out the guilty father (Robert Urich) and the suffering mother (Meredith Baxter) were both victims of molestation as youngsters themselves. It is tempting to try not to criticize a film such as this, dealing with the issue of a father molesting his daughter - one of the most horrible things a man could do to his child.
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