Scream 3 (2000)

Bereft of the typical doldrums of the previous films, “Scream 3” at least tries for something new and unique in the end. And while that doesn’t result in a watchable movie it’s at least admirable for its attempts to do something interesting. While “Scream” examined the crime, “Scream 2” examined the fall out from the crime where the idea became the institution, all while “Scream 3” explores the institution becoming so steeped in sensationalism that the crime has all but been snuffed out as a memory and urban myth. This sets the stages for Sydney’s return in the final installment of the first trilogy of “Scream” where she’s not a recluse living among her own devices avoiding the outside world. But fate comes knocking at her door when Ghostface returns anxiously looking for Sydney who has gone in to hiding and has taken on a new moniker and profession.

In the meantime, the production for “Stab 3” has been held up after constant production troubles, and now with the murders and body count rising, the studios are frustrated. Cue celebrity cameos, cheesy red herrings and endlessly exhausting exposition used as nothing more than an excuse to lure audiences in to believing any one of the faceless supporting cast members could be Ghost Face when we know better. This installment involves the making of a movie inspired by the events that occurred in “Scream.” Trying to explain this may cave in the walls of our dimension so stick with me: Wes Craven made a movie, about a movie being made that mocks the events that happened in a movie being made in to a movie, that was made to mock a sub-genre of movies that in an of itself is a rather comical sub-genre. Are you dizzy?

Because I sure as hell am! Either way, Craven figured we needed more horror spoofs, considering we already had them with the likes of “Cutting Class,” “Student Bodies,” and “Horror High School.” But hey, he told us he did it first, so Craven must be right. The writers aren’t even trying anymore and prove that by completely insulting the audience’s intelligence with the dumbest deus ex machina ever invented! The magic voice device! You see in “Scream” world the killer/s possess a device that allows them to mimic anyone’s voice by holding it up their mouth! They don’t even have to know the person face to face or actually have recorded their voices, they just are able to amplify the device to fit the voice! Amazing isn’t it? And it works every time! Are you kidding me, Craven? How stupid do you think audiences are?

Granted Craven does indeed bring down our security by killing principle character Randy in “Scream 2,” but he undermines such an attempt at creativity by implementing one in a series of impending plot devices. Randy conveniently manages to film a bunch of tapes of himself lending some tips to his friends on how to survive the oncoming confrontation with the killer or killers. Why he didn’t tell them the tips when he was alive, is never explained. “Scream 3” ends on a thud with a killer whose motives are not only convoluted but incredibly unnecessary and Craven ends his film on the delusion that this is the final moment in his series when even in 2000, fans knew there were more “Scream” films to come. Lacking in anything the original film brought to the table from charisma, to creativity, to even entertainment value, “Scream 3” is a joke, an embarrassing carbon copy of its previous films that repeats the same beats from both predecessors and opts for safety over daring.