Much like the soundtrack serves as a direct homage to the music at the time, the overall experience, even down to the narrative and directing style themselves, serves as a faithful tribute to the teen-oriented slashers at the time, specifically Scream .
But what’s old will always be new again in Hollywood, and just as Scream affectionately skewered (and briefly revived) the disposable body-count horror of the ’80s, so now is Wes Craven’s watershed hit inspiring its own wistful copycats.
There are some meta echoes banging about: There are sideways references to Jason Voorhees and those nutty kids from “Scream” (director and co-writer of all three films, Leigh Janiak, helmed some episodes of the short-lived “Scream” TV series), and there’s a recreated sequence from “The Shining.”
Director and co-writer Leigh Janiak is clearly paying homage to Drew Barrymoore’s opening cameo in Scream , right down to the masked killer’s black hooded robe and the slow-motion shot of the murderer chasing down his final victim (Maya Hawke) just as salvation seems nigh.
Set in Shadyside, the cursed sister town to neighboring Sunnyvale (imagine if Tree Hill shared a border with Silent Hill), the film opens with a murder in a mall that pretty closely mirrors the opening murder of Scream, down to the recreation of a few of that scene’s iconic shots.
Janiak sets her stall out early with a terrific cold open that homages Scream with a certain Stranger Things star in the place of Drew Barrymore.