In 2000, Scream 3 was a huge disappointment. Like Alien 3 it felt like a compromised product, though in this case the primary factor for the off feeling wasn’t a director out of its element (and too many cooks in the kitchen) as much as it was its violence being toned down in response to a tragic real-life circumstance. And, admittedly, to this day it is still the worst of the Scream movies. However, time has been kind to it all the same. In the 2020s it now has the charm of being the final film of the series’ classic era, with Scream 4 coming a whole 11 years later with a vastly different, oddly over-saturated visual style (that was, thankfully, never repeated).
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And that classic vibe isn’t the only thing working in the film’s favor, either. There are actually a number of reasons why Scream 3 is something of an under-sung treasure in the mainline slasher film franchise catalogue. It’s filled with some pretty baffling moments— like when Tom scrambles for a lighter in a not-that-dark house to read a series of script pages that are clearly heading towards the word “gas”—but the good just slightly outweighs the bad.
10) Tackling Hollywood’s Wildly Uneven Power Structure
Lance Henriksen’s John Milton exists in the movie to represent the most despicable members of the Hollywood elite (the most notorious of whom just so happens to be an executive producer on this very movie). He’s the type of man who heavily alludes to a gang of men taking turns assaulting a young woman and chalking it up to it being in the late ’60s and some equivalent of “she was asking for it.”
It’s impressive the movie was willing to point a finger at that part of Hollywood, even if the irony is certainly palpable that Harvey Weinstein profited from both this entry and the franchise as a whole. It would be better were that not the case, but the fact remains it’s the one slasher movie to essentially be part of the MeToo movement well before the movement took place.
9) Part of Roman’s Motive
Scott Foley’s Roman Bridger is quite notoriously the least-liked Ghostface, but there is one element of his character that works quite well. It’s not the fact that he’s the only one to act alone. It’s also not because he wears a seemingly impermeable bullet-proof vest nor is it because he’s managed to somehow capture everyone’s voices (how exactly did he get his and Sid’s mom’s voice if they had but one very short conversation?).
No, it’s actually his motive. Or at least part of it. His seeking revenge on Milton is understandable, even if it’s obviously never okay to put on a mask and robe and run around with a knife. We understand his rage that these men committed such unspeakable acts against his mother. It’s the most logical motive of the franchise, even if his wanting to kill Sidney does away with that logic (and the Billy and Stu revisionist history is best left ignored).
8) Sidney’s Agency
After surviving two murder sprees, it makes total sense that Sidney Prescott would live in isolation. It’s also note perfect that she works as a crisis counselor. This detail came from Neve Campbell herself, and it’s one of the absolute best parts of he movie.
Not many horror movie franchises have their protagonists truly grow between installments, but Scream is certainly one of them. Its staying true to Sidney in the wake of getting a new screenwriter was integral and, thankfully, it sticks the landing in that regard. However, the movie needs her to leave that isolation at some point, and it very much raises the question of just how Roman got her phone number out there in the middle of the woods (and why does it say the call was coming from within her house?). Either way, Sid’s decision to head to LA and face this newest Ghostface head-on is another testament to the fact that Scream 3 continues to give her agency.
7) The Opening with Cotton
Scream‘s opening with Drew Barrymore’s Casey Becker is nothing short of iconic. It set an untouchably high bar for opening one of these movies. Even still, Scream 2‘s movie theater set opening and having all of the theatergoers stare blank-faced at real-world violence was quite impressively nearly as good.
So, in short, Scream 3‘s opening with Cotton Weary biting it does fall short. It also is an example of the ultimate sign that a third installment won’t live up, which is killing off a primary character in the first act. Whether Cotton was primary could be fairly debated, but regardless he was a part of the entire trilogy. But even factoring that in, it’s a suitably tense scene, establishing that this new Ghostface has voice changing tech and has a clear mission in mind. Not to mention, the shot of Ghostface standing just above Cotton and getting a cough of blood on the pristine white mask was a nice touch.
6) The Occasional Spark of Inspired Dialogue
For the most part, Ehren Kruger’s script for Scream 3 doesn’t hold a candle to the brilliance of Kevin Williamson’s work on the first two films. However, it’s not without its sparks of cleverness.
It’s at its best when it’s being ultra-meta. For instance, Sarah Darling saying she’s only in two scenes and dies in the second works because it’s true of the woman playing her, Jenny McCarthy. Patrick Dempsey’s Det. Mark Kincaid saying “Something about trying to keep the ending off the internet” is a nice little shout-out to the fact that Scream 2 had its script leak.
5) The Randy Cameo
People didn’t love that Randy was killed off midway through Scream 2. But frankly, that’s what makes that scene so impactful and devastating. It was the right call.
Regardless, it makes sense why Jamie Kennedy was brought back for Scream 3. And much to its credit, while having Randy film himself talking about trilogies could have played as a logic leap, it really doesn’t. If anyone could have anticipated their own death and filmed a video talking about trilogy rules, it would have been Randy. Plus, his arguing with Dewey from beyond the grave is genuinely funny and the casting of Heather Matarazzo as his sister, Martha, couldn’t have been better.
4) The General Concept of Ghostface on a Film Set
Just as Scream 3‘s dialogue is at its best when its essentially referencing its own existence, the film itself is at its best when its leaning into the Stab saga angle. After establishing Stab as an in-movie movie version of these movies, of course we had to go to the production of one of them.
It would have been nice to get a few stalking scenes in the film lot instead of in Milton’s house, but the fact remains that taking the action to a film production was the right way to end the trilogy. It feels more like a culmination than the seemingly souped-up Ghostface.
3) The Film Set Chase
As far as chase scenes go in the first trio of Scream films, it might actually be Scream 3 for the win. At the very least, Ghostface’s pursuit of Sidney through the Woodsboro set is as compelling as the sound room scene from Scream 2 and the pursuit through Stu Macher’s house and yard in the first movie.
We even get to see Sidney really get put through her paces and keep cool under pressure. Not only is she dealing with Ghostface, but she has to look at a built set featuring her dead mother to boot. We really feel for her here.
2) Jennifer Jolie
Parker Posey has said she’s up for returning to the Scream franchise, and it’s easy to see why because she was clearly having fun as Jennifer Jolie. She elevates every scene she’s in, especially when paired with Courteney Cox. Their rivalry is the highlight of the film.
Her death is also pretty memorable in a sea of lame kills. We’re desperate for Dewey to shoot Ghostface through the mirror so Jolie can run off safely but, no matter how many times you watch it, she never does make it. However, that particular scene also has an irritating factor. Unless there was some sort of a trap door at the end of that closet, how did Dewey and Gail not see Ghostface run back the direction he came? All the mirrors were shot out, after all. Even still, Jolie screaming “I’m the killer in Stab 3!” just before dying is perfect.
1) Its Last Shot Couldn’t Have Been Better
Scream 3‘s ending is the true ending of the franchise. Full stop. Sidney is back out in her isolated home but now she has Gale, Dewey, and Mark Kincaid by her side. She finally feels safe, after having her life threatened three times.
This culminates in the fantastic final shot of the film. The door to the house is wide open and she looks out at the yard and, no longer feeling the need to always be on the defensive, just walks away, towards her friends. As far as final shots in a trilogy go, that’s a real winner.
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Image courtesy of Tor Books/Macmillan -
Official art by Bastien Lecouffe-Deharme
