SCREAM 7 (2026)

This review contains spoilers.

Full disclosure: I’ve never been overly invested in this franchise. Sacrilege I know but I thought even Wes Craven’s original was (and still is) overrated - and I saw it on its initial release. 

The Scream films for me are the Scooby Doo of slashers with the masked killers often having less believable motivations than the villains Shaggy and the gang unmask (case in point particularly here). Sure they’re watchable, disposable, slick, slice and dice Saturday night popcorn fare - but no more. And I know this will be seen as a ‘hot-take’ - it honestly isn’t meant to be - but I genuinely prefer ‘Scary Movie’ (the original) over Scream (1996).

7 is yet more of the same, with added nostalgic callbacks (one using AI which links to the Scooby Doo franchise once again) that feel clunky and overcompensating for the inherent weaknesses in the script), and the enforced big pay check return of Neve Campbell after the intended lead Melissa Barrera was disowned for expressing an opinion.

To be completely fair, there’s a nifty opening pre-credits sequence (only partially ruined by the trailer), which cleverly gets the obligatory backstory covered, a couple of gruesomely inventive deaths and some decent jump-scares along the way in its favour.

But the plot holes, implausibilities (yes, even by slasher standards) become gapping chasms which for me ultimately sink(hole) the final third - and don’t get me started on the actual killers, their reveals, and their weakest of weak motivations).

Some spoiler(ish) thoughts:

1. How many high schools happen to have a flying wire rig for a school play? (Clearly they must be better funded than schools in England).

2. What’s the point of an escape room if you can’t just safely STAY PUT in there and alert the authorities to your plight knowing the killer (or one of them) isn’t dead and still in the house.

3. When checking a house for residue Ghostfaces, don’t you think the police would have checked the attic (or haven’t any of them seen ‘Black Christmas’?)

4. Speaking of police, where the hell were they for the WHOLE of the final third?

5. I can accept a bullet-proof vest (it’s actually plausible), but how come the killers are even able to stand after the (deserved) physical punishment meted out to them, and with barely a visible scratch on them - they’re not Jason Voorhees and therefore don’t have regenerative tissue (see ‘Jason X’ - it’s canon).

Look, despite the above I will admit I DID enjoy watching this on my local multiplex IMAX screen, and yes, I’d probably go and see Scream 8 - but if I’m honest - I’d rather not have a Scream 8 to go and see.

*** (out of 5)

Paul Worts

ROBIN ASKWITH - DIFFERENT TIMES (1st December 2025 - Phoenix Arts Club)

Performed by Robin Askwith on December 1st 2025 at the
Phoenix Arts Club, London. A Misty Moon event. 

Confessions of a Robin Askwith event virgin...

With the smoke machine cranked up to '11' and the stage lights in maximum overdrive, Robin Askwith bounded onto the stage like a 'Spinal Tap' rockstar and proceeded to thoroughly warm the cockles and charm the chuckles from his packed (sold-out) audience with a cornucopia of tales and fascinating insights from his colourful cult career.

Currently a regular in the hugely popular 'The Madame Blanc Mysteries' TV-series, (of which there is apparently an Xmas special coming), 'Different Times' showcased Askwith's reflections on how the film/tv industry has changed and transformed over the years along with societal attitudes... In a fascinating evening encompassing anecdotes ranging from Pier Paolo Pasolini to Pink Floyd, this former onscreen window cleaner/pop performer/driving instructor/holiday camp rep etc, shared tales of on and offscreen shenanigans filtered through the nostalgic lense of time. 

This show has apparently evolved over an incredible 130 gigs (so far!) but on the evidence of this night I can fully appreciate why Robin's events have snowballed in popularity and are so warmly received - he even has a dedicated band of supporters, 'The Askwith Army' (a term I thought reserved for K-Pop bands). Not only does he bring the (literal) warmth of the Mediterranean island of Gozo (where he resides) with him - most welcome on a cold December evening - but he also brings a disarming brand of honesty, and cheeky charm, much like his most familiar onscreen persona. Speaking of cheeks (and let's face it how could you not?), in recounting his recent bare-cheeked cameo in 'Inside No.9', Robin really got to the bottom (sorry) of intimacy coordination and modesty underwear - neither of which existed back in the 70''s either for Robin nor for his female co-stars...

Personally, I've always thought Robin Askwith to be a underrated actor who brought (and continues to bring) far more to his roles beyond just the cheeky-chappie persona then he was ever given credit for. Genuine and sustained likeability is a quality not to be underestimated and I found it heartening that the packed and enraptured Phoenix Arts Club audience clearly shared my opinion. In an ongoing career that's spanned from bawdy Chaucer to seaside postcard saucy, from 'Ray Fay' (Queen Kong), 'Timothy Lea', (Confessions...'), 'Gordon Laid' ('Let's Get Laid'), 'Robin Askwith’ - who? - ('Inside No.9') and now to 'Jeremy Lloyd James' ('The Madame Blanc Mysteries' - of which did I mention the upcoming Xmas special?) Mr Askwith has amassed a positive treasure trove of tales from which I've no doubt he'll continue to plunder for the pleasure of not only ' The Askwith Army', but for anyone who is fortunate enough to snag a ticket to one of his shows for quite some time to come. 

So, my only remaining question is, when's the next one...?

Paul Worts

REUNION (2025)

Directed by: Jason Read. Starring, Bill Fellows,Nicola Bryant,
Nadia Chambers. Short, Fantasy, UK, 2025, 8mins.

A Misty Moon production. 

“It is said that the Devil has all the best tunes. This is broadly true. But Heaven has the best choreographers” - Terry Pratchett, 'Good Omens'.

In writer/director/auteur Jason Read's latest short, 'Reunion', we learn that the Devil's tunes are apparently being belted out on hell's throne by Cilla Black as a surprise (surprise) to really bad sinners. Meanwhile, Liberace is tinkling the ivories at the pearly gates... 

Originally conceived as a two-hander for Brian Murphy and Dudley Sutton, (with Brian as God and Dudley as the Devil), sadly both these dearly missed souls departed this mortal plane before the project could be realised. However, divine inspiration came to producer Stuart Morriss who re-cast Bill Fellows (Coronation Street, Ted Lasso) as God, and Nicola Bryant (Doctor Who, Blackadder's Christmas Carol) as the Devil.   

Having tracked the 'supreme being' down to a retirement home - where he's turned himself human to take a sabbatical from 'celebrity fatigue' - the Devil confesses that "Devilling's no fun without a nemesis." For his part, God concedes it's really nice to see his fallen angel again...and neither can recall exactly what they fell out about in the first place...

Following in the footsteps of Elizabeth Hurley and Jennifer Love Hewitt, Nicola Bryant is a seductively sassy Satan. Here the Devil (literally) wears Prada whilst God wears pyjamas,  albeit "still sporting the sexy beardy look." Jason Read's delightfully devilish and witty script manages in a lean 8 minutes to somewhat miraculously encompass: just who God actually intended to inherit the planet before disaster struck; evolution; the real benchmark against which you're judged fit or not for heaven (clue: what does 'God' spell backwards...?); and just who is and who isn't filling up heaven these days...

Deliciously played by both Fellows and Bryant, each relishing their respective roles as the archetypal celestial beings, by the time the smoke dissipates and the credits roll with 'I don't Want to Set the World on Fire' (not performed by Jess Conrad), it's hard not to feel privileged to have been invited to this very special 'Reunion' - and harder still not to sing its praises.

(N.B. I would however caution against accepting a cuppa from that nurse Rosemary (Nadia Chambers) whilst watching it...)

***** 

Paul Worts

FRANKENSTEIN UNCHAINED! (27th October 2025 - Phoenix Arts Club, London)

Performed by Madeline Smith & Jason Frederick - Monday 27th of October 2025 at the Phoenix Arts Club, London.

To date, there have been over 400 full-length films and over 300 TV shows and series featuring various incarnations of the monster born out of Mary Shelley's cautionary gothic tale, itself stitched together during an uncharacteristically cold summer in 1816 at Lord Byron's villa on the shores of Lake Geneva. 

There was however nothing remotely uncharacteristic about the autumnal chill in the air as I turned off Charing Cross Road and headed down the splendidly spooky cobweb-themed stairs of the legendary Phoenix Arts Club to experience ‘Frankenstein Unchained!’ presented by Misty Moon Exhibitions and Events.

It is somewhat fitting this inventive multi-media retelling of Mary Shelley‘s classic Frankenstein features a fulsome live narration by the iconic film, stage and television actress Madeline Smith given that her previous contribution to the Frankenstein franchise was her portrayal of a mute assistant to Peter Cushing’s Victor Frankenstein in Hammer’s ‘Frankenstein and the Monster from Hell' (1974).  Thankfully now gloriously unmuted, Madeline’s narration breathed tangible life into Shelley’s literary creation through a triad of voices depicting not only the novel’s narrator (Captain Robert Walton), but also of the fatefully misguided scientist Victor and his monstrously tragic creation.

Whilst the narration was delivered from the right-hand side of the stage, to the left-hand, behind keyboard and an array of instruments sat Jason Frederick, a Canadian multi-instrumentalist film and television composer performing live parts from his new original soundtrack, complemented by moving images on a large screen backdrop which acted as a canvas for archival montages from past screen incarnations of the timeless tale. Frederick’s score was seductively evocative, the music ebbing and flowing with the dramatic beats of the story, offering up a soundscape capturing the initial heady hopes to the descent into horror and chilling despair. Like Victor Frankenstein himself, Frederick often could be seen reaching behind the far-left curtain to produce various instruments with which to stitch and sew together his haunting soundtrack.    

I found the whole performance absolutely spellbinding and it’s a testament to its original creator Mary Shelley, and to both Madeline Smith and Jason Frederick that on 27^th October 2025, for 90 terrific minutes, I can testify that Frankenstein was once more truly alive. 

Paul Worts.   

THE COMMISSION (2024)

Directed by: Jason Read. Starring Adrienne King, David Barry. Short, Horror, UK, 2024, 5mins.

A Misty Moon production.

“I think you’ll find this is going to be quite an experience...”

Written, rehearsed and shot all within the space of 48 hours, Jason Read’s short and sweet love letter (or rather postcard given its succinctness) to the original Friday the13th (1980) is both beautifully played and executed (no pun intended).

With a premise as meta as meta can be, Adrienne King, playing herself - who originally played ‘Alice Hardy’, Camp Crystal Lake’s original final girl in the seminal slasher Friday the13th (1980) – is invited to a quiet village in England to have a waxwork made of her by ‘Dudley’ (David Barry), a famous sculptor residing in a historically quaint cottage. Upon arrival, Dudley informs Adrienne that: “this is the most I’ve ever been paid for a commission”, but when Adrienne asks about the client’s identify, all Dudley reveals is: “Let’s just say he’s a super-fan…”.

Pulling this project together from scratch at such short notice was quite some feat, but it’s a remarkable testament to all involved in the production, most notably writer/director/editor and composer Jason Read, that it delivers with such a deftness of touch and an affectionate nod and a final girl wink to horror fans.

Adrienne King is clearly having fun playing herself (even sporting her original ‘Alice Hardy’ hairstyle) whilst referencing her own visual artistry and of course her most iconic film role as the vanquisher of ‘Pamela Voorhees’: “…I am a bit familiar with beheadings myself”. The inimitable British comedy actor David Barry (who remarkably only became involved 12 hours before the shoot) plays the sculptor ‘Dudley’ (in a nice homage to the sadly missed actor Dudley Sutton) with delicious nervous relish: “Once I get started, it tends to get a bit messy”,  and both he and Adrienne are great fun to watch as they interact to Jason Read’s impishly foreshadowing script.      

The references to ‘Friday the 13^th’ are carefully placed for the fans (and super-fan) and helmer Jason Read is generous in this regard. The soundtrack features a couple of sprinkles of composer Harry Manfredini’s iconic: ‘Ki Ki Ki, Ma Ma Ma' – one accompanying the arrival of a Southern region train into Robertsbridge station! The second can be heard as Dudley hangs up Adrienne’s coat – which just happens to be next to a yellow rain mac bearing a remarkable similarity to the one worn at Camp Crystal Lake. And speaking of which, I think I just might have spotted a glimpse of one of Adrienne’s original paintings depicting Camp Crystal Lake to the far right of the frame in the same shot. Producer and founder of Misty Moon productions, Stuart Morris cameos as the ‘Villager’, (IMDb lists his character as ‘Ralph’ in another wink to the franchise) – although in giving Adrienne directions he stops short of informing her Rose Cottage has a death curse!    

As well as the specific Friday the 13^th references, the actual cottage interiors offer some fascinating mise-en- scene including striking sculptures of vampiric ‘Mr Barlow’ from the TV series ‘Salem’s Lot’, Lon Chaney from the lost ‘London After Midnight’ and most notably the nightmare-inducing ‘Child Catcher’ from ‘Chitty Chitty Bang Bang’.

Premiered for cast and crew in London’s Phoenix Arts Club on 27^th January 2025 before hitting the festival circuit, ‘The Commission’ has already garnered awards – in fact it won 10 (!) at The Hollywood Blood Horror Festival. It’s easy to see why, and I’m certain there will be many more in the pipeline as it’s a perfectly gift-wrapped treat for horror fans and Friday the 13^th aficionados the world over, and I for one am glad it got commissioned.       

****

Paul Worts

THE FIRST OMEN (2024)

From a wimple to a scream.

(Nun)necessary retconned prequel that is a reasonably well-crafted film in its own right, just not a particularly effective or suspenseful horror film.

The Omen sequels became increasingly precursors to the Final Destination franchise with their host of supernaturally determined and often spectacularly staged death scenes. In first-time helmer Arkasha Stevenson’s prequel, the handful of reworked set-pieces, clearly intended as homages to the Richard Donner 1976 original, land more with a whimper (or should that be a wimple) than a bang. The exception being the “It’s all for you” hanging - now upgraded to include self-immolation. It does however feel as if Stevenson is either mildly ashamed or reluctant to include them at all but must fulfil certain tick boxes along the way. There is however some surprisingly upfront body horror in the shape of a couple of squirm inducing birthing scenes (including one brief – albeit MPAA compromised - memorably devilish gynaecological image).

The extended runtime allows scope to develop the relationship between Nell Tiger Free’s novice nun ‘Margaret’ and troubled teen ‘Carlita’ (Nicole Sorace) amongst the corridors of the orphanage in Rome, together with the cigarette smoking trampolining sisters reminiscing about good-looking milkmen! Screenwriters Tim Smith, Keith Thomas and Stevenson try to work a ‘twist’ as to who Damien’s mummy is really going to be – but as a mystery it’s a bit of a non-starter. The script does however serve up a tasty morsel by suggesting the Catholic church themselves engineered the birth of the antichrist to boost congregation numbers!   

But eventually the narrative must be nudged towards (ret)connecting to the original’s plot by way of ‘Rosemary’s Baby’.  But belatedly cueing up Jerry Goldsmith’s masterful (Oscar winning) composition Ave Satani only serves as a reminder of the more proficient 1976 shocker. The narrative join-up is clunky and not only fails to connect all the dots, (particularly the original identity of Damien’s birth mother) but also throws in added unnecessary elements – presumably to add some more meat to The Second Omen – if there is one? 

To be completely fair, the 120-minute runtime doesn’t actually feel like 2 hours, and the build-up to the climatic final third is reasonably absorbing. Nell Tiger Free carries the film with a committed performance - even at one point channelling Isabelle Adjani in Possession (1981) - whilst the supporting cast, including Bill Nighy’s creepy cardinal and Ralph Ineson (essaying Patrick Troughton’s ‘Father Brennan’) provide solid dependable support. And any film covering this kind of pseudo-religious mumbo-jumbo subject matter that manages to avoid giving a multiplex crowd cause for unintended sniggers or titters for 2 hours is an achievement in itself (albeit in a mid-afternoon audience of approx. a dozen patrons at my screening).   

The main issue is the contractual obligation to tie things up - and as we already know the outcome - it’s somewhat of an anti-(Christ)climax.

Still, there are sufficient good omens in the crafting of this prequel to suggest Stevenson is a director to watch once she gets to shape a work not so chained by pre-existing material.

***(out of 5*)

Paul Worts 

GODZILLA x KONG: THE NEW EMPIRE (2024)

“Just try not to swallow your tongue” ‘Trapper’ (Dan Stevens) advises podcaster Bernie (Brian Tyree Henry) as they start the psychedelic descent into the Hollow Earth in Adam Wingardium Leviosa’s Godzilla x Kong: The New Empire. Clearly Wingard’s tongue is firmly in cheek in this unabashedly goofy sprawling follow up to his neon-drenched 2021 helmed Godzilla vs. Kong.

 

The ’vs.’ in 2021’s title may now have been replaced with ‘x’ to signify a truce between the two titular titans, but it’s a fragile pact at best, briefly crumbling in a rumble in Egypt (due to Godzilla misinterpreting Kong’s request for assistance) which reduces the pyramids of Giza to rubble. Thankfully, our favourite giant lizard is brought to his senses by Mothra, swooping in like an ethereal WWE referee and re-focusing our heroic monster on the prime objective.

 

Even more Kong-centric than 2021’s ‘vs.’– albeit largely explained by the fact the majority of the action this time around is centred in (and below) the Hollow Earth - Godzilla is at times regulated to quick ‘travelogue’ updates. One minute he is seen stomping up the Tiber in Rome, the next he’s topping up his atomic radiation in the Arctic. Meanwhile, back in the Hollow Earth, Kong is being led into a monster fish-infested lake by deceptively cute wide-eyed mini-Kong Suko in true Smeagol / Gollum style before encountering the evil Skar King and his ancient ice-powered titan Shimo. Being so expressive and a gentle giant (at times), there’s always fun to be had with Kong, none more so than when he's suffering from toothache, resulting in kaiju veterinarian ‘Trapper’ (Dan Stevens – a barmy but welcome addition to the cast) abseiling into his jaw to perform dental surgery, or upgrading a frost-bitten arm with a power-glove.

 

The eventual titan showdown is truly spectacular, offering up the gloriously gonzo sight of Godzilla et al spiralling through an anti-gravity vortex in the Hollow Earth before surfacing on a beach in Rio de Janeiro which is frankly worth the price of IMAX admission alone.

 

Back in 2021, thanks to a certain global pandemic, UK kaiju aficionados were deprived of a cinematic release of the previous heavyweight titan set-to. Thankfully Wingard’s second outing playing in the kaiju sandpit is available in full expanded IMAX glory (and even post-converted 3D if you really want it). Sure, it is wildly uneven, skittering all over the place (and the world), but it still delivers terrific giant monster mayhem and fun. No, it is not Godzilla Minus One (a superb achievement in it’s own right and a deserved Oscar winner to boot), but then it is not remotely trying to be that film either. There is however plenty of room in the kaiju cinematic universe for both types of interpretations, and judging by the box office figures coming in, audiences across the globe are more than happy to find more room for Godzilla and Kong to grace IMAX screens once again. 

(Polite request: please can we have a more Godzilla-focused outing next time Adam?).   

**** (OUT OF 5*)

Paul Worts