Teaching Mrs. Tingle (1999)
★★ / ★★★★
Despite missing a level of wit and cleverness of similar and more successful movies within the teen dark comedy genre, “Teaching Mrs. Tingle,” written and directed by Kevin Williamson, makes one great decision. The title character, played by Helen Mirren, is such a despicable teacher, the material offers no room to change her ways within the lean ninety-minute running time.
The picture has a consistent breezy pacing that is just right for the type of comedy it hopes to create. Just about every other scene moves the plot forward which is occasionally interrupted by tolerable hiccups involving a romantic connection between Leigh Ann (Katie Holmes), a potential high school valedictorian, and Luke (Barry Watson), the class slacker. Slower moments can be easily overlooked as a whole because there is great energy shared among the high school students with varying stakes in the battle of wills against a most fearsome educator.
Mirren is a standout especially because her character is tied to a bed during the majority of the movie. She does a lot with the lines she is given, especially during scenes when Mrs. Tingle attempts to gather key information about her students’ personal lives so that when one of her captors is alone, she can plant seeds of doubt. Equally entertaining to watch—but in a different way—is Marisa Coughlan who plays Leigh Ann’s best friend named Jo Lynn. One of Coughlan’s shining moments comes in the form of Jo Lynn attempting to reenact the climax of a ‘70s horror classic—which is absolutely hilarious.
What does not work about the film, however, is its use of soundtrack to communicate the characters’ thoughts and feelings. This approach is very mid- to late-‘90s and it has never worked for me. It is an excuse to circumvent a more thoughtful writing. If one were to strip away the songs and the nostalgia, what is left is hollow characters who do the things they do simply because the plot requires them to do it. To the writer-director’s credit, there are a few exchanges between Mrs. Tingle and Leigh Ann which exposes the latter’s fear of losing a scholarship that would enable her to attend college and leave the small town. However, these exchanges are pedestrian, nothing special, have been tackled in other, better films.
Vivica A. Fox and Molly Ringwald make brief appearances, the former playing the school counselor and the latter portraying a school administrator/substitute teacher. It is a curiosity that they were not used more considering that both have formidable screen presence. The movie, when it it is not as consistently funny, tends to rely on the power of presence—mainly Mirren’s—and so one cannot help but expect Fox and Ringwald to have a bigger role eventually in the story.
“Teaching Mrs. Tingle” is far less interested in providing life lessons than it is pushing the envelope. I wished that it had pushed further and had risked more often in possibly being thought of as cruel or mean-spirited. When it tests what it can get away with, that is when the material is most electric. I enjoyed and craved to laugh more consistently during the most inappropriate gambles.
Scream 4 (2011)
★★★ / ★★★★
Ten years had passed since Sidney Prescott (Neve Campbell) was stalked by Ghostface. She had written a bestseller based on her experiences and Woodsboro was the last stop of her book tour. Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox) had gotten married. And while Riley, now a sheriff, was happy with the marriage, Gale was less than ecstatic because she missed being out in the field as a sassy reporter and solving crimes. It must be Gale’s lucky day because it seemed like there was a new killer in town. Directed by Wes Craven and written by Kevin Williamson, “Scream 4” felt fresh. That is an important quality because sequels tend to run out of ideas over time. This film was an exception because it took advantage of what social networking sites and fame meant to the new generation. The eleven-year break felt necessary. The challenge our beloved trio had to overcome was to quickly learn how to adapt to the new rules. Failure to do was tantamount to being a big-breasted dumb blonde who decided to investigate a strange noise upstairs. We all know what would eventually happen to that character. There were new horde of sheep ripe for the picking. Jill (Emma Roberts) was Sidney’s cousin but they were never really close. She had two spunky but good-looking best friends (Hayden Panettiere, Marielle Jaffe), an ex-boyfriend (Nico Tortorella) who cheated on her, and two horror movie geeks (Erik Knudsen, Rory Culkin) who had a crush on her galpals. There was also Deputy Judy Hicks (Marley Shelton), openly flirtatious to Dewey while on the job and Sidney’s assistant (Alison Brie) who was actually elated when she found out that teenagers were being butchered. Needless to say, all of them were suspects. After a self-satirizing and highly enjoyable first scene (with a nice cameo from Anna Paquin and Kristen Bell), I immediately got the feeling that no one, including Sidney, Gale, and Dewey, was safe. After all, they weren’t getting any younger. Perhaps the writer and director decided that it was time to pass on the torch. Furthermore, the teens were very similar to the characters in the original picture. What I loved was Craven’s awareness of that suspicion. He held onto our expectations, turned it upside down, and shook it with purpose. In doing so, the story actually felt unpredictable for a change. I paid more attention to where the story was heading next instead of the horror movie references or how knowledgeable the characters were about scary movies. I felt like there was more at stake this time around. Most importantly, “Scream 4” had something to say beyond the fences of horror pictures. Admittedly, the idea wasn’t fully developed but it’s far superior than torture porn where the violence depicted on screen were done simply for shock value. After a decade, the knife still felt sharp.
Scream 3 (2000)
★★ / ★★★★
Post-college life was tough for Sidney (Neve Campbell) as she moved away from her friends and family to live in a house deep in the woods with her dog. Who could blame her for being traumatized after a masked killer, or killers, exhibited a fixation for murdering those she was closest to? “Stab 3: Return to Woodsboro,” a successful horror franchise, was in production in Los Angeles but the actors were attacked and killed by Ghost Face. It seemed like the killer’s plan was to murder the actors in which they died in the movie in order to attract Sidney’s attention and come out of hiding. The two obviously had issues to resolve. There was only one problem: Sidney, Gale (Courteney Cox), and Dewey (David Arquette) had no idea which script Ghostface had in hand because three versions were written. It meant there were three different order of kills and three different endings. Still directed by Wes Craven but the screenplay helmed by Ehren Kruger instead of Kevin Williamson, “Scream 3” had potential for excellence but the execution was too weak to generate enough tension to keep me interested. What I enjoyed was Sidney, Gale, and Dewey’s doubles (Emily Mortimer, Parker Posey and Matt Keeslar, respectively) because they were exaggerated versions of the real ones. What I didn’t enjoy as much was they weren’t given very much to do other than waiting to die in a gruesome fashion. And while the material played upon the actors’ self-centeredness despite being second- or third-rate celebrities, it didn’t tell us anything we didn’t already know. What made the first two movies so enjoyable was the fact that the comedy and horror were connected in a smart way. In here, the material relied on spoiled celebrities as a source of comedy and Ghostface’s hunt for Sidney as a source of horror. Since the two failed to connect, the script felt painfully stagnant. I wondered where the story was ultimately heading. Furthermore, the chase-and-stab formula became less exciting over time. It was awkward how the film would stop in the middle of the suspense and cut into a less exciting scene. In doing so, the scares lost considerable amount of momentum. And when it finally decided to return to the murder scene, it just looked silly and gruesome. It began to feel like a standard slasher flick. “Scream 3” still winked at itself, like the villain in a trilogy becoming seemingly superhuman, but it lacked the edginess combined with other necessary elements to bring the movie to the next level. It just didn’t feel fresh anymore. When the unmasking arrived, I just felt apathetic. It’s not a good sign when you’re looking at the clock every other scene to check the remaining minutes you have to sit through.
Scream 2 (1997)
★★★★ / ★★★★
Two years had passed since the Woodsboro murders. Sidney Prescott (Neve Campbell) was now in college majoring in drama, Gale Weathers (Courteney Cox) became a best-selling author, and a movie known as “Stab,” inspired by the aforementioned killing spree, had just been released. But when a couple (Jada Pinkett Smith, Omar Epps) was murdered during one of its screenings, Dewey (David Arquette) quickly, despite the limp, ran to Sidney’s protection and movie geek Randy (Jamie Kennedy) was present to explain the rules of horror sequels. Written by Kevin Williamson and directed by Wes Craven, “Scream 2” was able to defy the odds by pointing its fingers on bad scary movie follow-ups without being one itself. The film worked on multiple levels because it had more than one joke that worked. For instance, it acknowledged the idea that horror pictures seemed to be lacking in African-American characters and other minorities. Aside from the doomed couple in the memorable first scene, we knew the joke made a lasting impression when a minority was randomly placed next to one of the main characters and we couldn’t help but chuckle. However, it didn’t feel forced because the story took place in college. While the murder scenes were less creative–but more gory and elaborate as Randy stated–than its predecessor, they retained a level of cheekiness, especially when Sarah Michelle Gellar was given the chance to shine as the “sober sorority sister,” so it was fun to watch. We knew that her decision to go upstairs, as we learned in the first film, was a very bad idea but she did anyway. Downstairs, it seemed like she knew how to defend herself so maybe, despite being blonde and pretty, she would be lucky enough to escape. But it wasn’t just about murders on campus. Cotton Weary (Liev Schreiber), the man Sidney wrongly accused of killing her mother, had just been released from prison. The fact that he had motive to take bloody revenge and his thirst for fame warranted serious suspicion. It was a reminder that we couldn’t always trust Sidney’s judgment which was a small twist from typical slasher flicks where we take comfort in the virgin making all the right decisions to make it to the very end. The film spent more time on the characters and worked on the undeveloped strands from the first installment. What remained the same was everyone was a suspect. From Sidney’s pre-med boyfriend (Jerry O’Connell) and sassy friend (Elise Neal), Randy’s movie-loving classmates (Timothy Olyphant), to the reporter (Laurie Metcalf) desperate for the latest scoop. “Scream 2” was a vat of self-awareness; I relished every witty line and irony within an irony. Most impressive was sometimes the joke and horror came hand-in-hand.
★★★★ / ★★★★
Sidney Prescott (Neve Campbell) was left home alone because her father had to travel for business. That probably wasn’t a good idea because one of her friends, Casey (Drew Barrymore), had just been butchered by Ghost Face, a masked figure who had a penchant for calling women and asking about their favorite scary movie. Written by Kevin Williamson and directed by Wes Craven, “Scream” solified its place in the horror genre because it successfully parodied slasher flicks that plagued the 70’s and 80’s without becoming another forgettable bloodbath. Or worse, turning into something it wanted to poke fun of. Half the fun of this film was that the characters had seen a bunch of scary movies. References from Paul Lynch’s “Prom Night” to Stanley Kubrick’s “The Shining,” most of the characters knew that running into a dark room and asking, “Who’s there?” meant a gruesome death. And deservingly so. Horror movies, in essence, is survival of the fittest. The colorful characters were aware of the rules (yet ironically breaking them) and by acknowledging such rules, the audiences had a feeling that anything could happen. Everybody was a suspect. There was Casey’s father who had gone missing, an ambitious reporter named Gale Weathers (Courtney Cox) who was willing to do whatever necessary to deliver the breaking news first, and Deputy Dewey (David Arquette) who was never taken seriously as a cop because of his boyish good looks. Sidney’s friends were suspects, too. Sidney’s boyfriend (Skeet Ulrich) was very frustrated because she wouldn’t give up her virginity, Randy (Jamie Kennedy) and his love for horror pictures was a red flag, Sidney’s sassy friend (Rose McGowan) was perhaps too supportive of her, and Stuart (Matthew Lillard) was just too strange and energetic–perhaps he needed an extracurricular activity which involved running around and cutting people up. Or maybe Sidney was just losing her mind because she had not yet moved on from her mother’s murder which happened to be exactly a year ago. What made the film even better was the finer details. Some of the characters’ names were references to other famous horror movie characters (like Billy’s last name being Loomis, a nod to Dr. Sam Loomis in John Carpenter’s “Halloween”) while others were chuckle-inducing images (like the school janitor’s name being Fred and wearing red and green striped shirt, a wink at Freddy Krueger in Craven’s “A Nightmare on Elm Street”). It was clear that the director loved the movies he cited. By highlighting the unspoken rules and exposing their formulaic silliness, Craven reminded us why we enjoyed being scared and then laughing at ourselves (after a couple of days) for being so scared once we got home to the point where we rushed in turning on all of the lights so we could feel safer. “This is not a movie,” Sidney claimed. I wouldn’t be too sure.