2000 Directed by Wes Craven
As bodies begin dropping around the set of ‘Stab 3’ — a movie sequel based on the gruesome Woodsboro killings — Sidney, Gale and Dewey are once again drawn into a game of horror movie mayhem.
David Arquette Neve Campbell Courteney Cox Patrick Dempsey Scott Foley Lance Henriksen Matt Keeslar Jenny McCarthy-Wahlberg Emily Mortimer Parker Posey Deon Richmond Kelly Rutherford Liev Schreiber Patrick Warburton Jamie Kennedy Roger L. Jackson Julie Janney Richmond Arquette Nancy O'Dell Lynn McRee Roger Corman Josh Pais John Embry Lawrence Hecht Lisa Beach Kevin Smith Jason Mewes Erik Erath Daniel K. Arredondo Show All…
Gene Serdena Bruce Alan Miller Sloane U'Ren Nancy Deren Robert W. Anderson Michael Glynn Anthony D. Parrillo George Capetanos Quinn Yarbrough Edward Tamayo Barbara Ann Spencer
Tim Chau G.W. Brown Albert Gasser John Kwiatkowski Todd Toon David Kern Piero Mura Andy D'Addario Donald J. Malouf
Scream 3 : Ghostface Killer, Ghostface Killer, 夺命狂呼3, Κραυγη Αγωνιας 3, Pânico 3, Frissons 3
"Hollywood is full of criminals whose careers are flourishing."
EXECUTIVE PRODUCER
HARVEY WEINSTEIN
very fitting its called scream as that's exactly what I did when I saw gale weathers' bangs
the only valid jumpscare in this movie was when courtney cox’s bangs appeared on the screen
sidney after ghostface attempts to murder her for the third time: i mean what the fuck, can i live? can i live? can i fucking live?
the New Nightmare of Screams. wildly underrated, angry, brilliant; the first two are perfect artifacts of 90s self-referentiality, and this is the knife in the eye of the Dimension/Weinstein horror era they created
The film-shoot backdrop lets Craven go a little wild on the meta stuff to the point where a lot of it pivots into outright self parody, which isn't necessarily a bad thing but it isn't properly balanced with simple scary movie mechanics, which twist themselves into knots trying to both maintain a mystery and shoehorn in backstory and returning characters. That said it does have a series high-point sequence, Sid being chased through the set of her childhood home, deliberately drawing attention to artifice to deliver an almost BEING JOHN MALKOVICH-y tour through memory and trauma that might be an emotional peak for the franchise. Certainly not running on fumes but a little low on gas for sure. The always glorious Parker Posey absolutely walks off with it while nobody else is looking.
“He was making a movie called Stab. He was stabbed.”
You simply cannot argue with detective work like this
