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Liev Schreiber

SCREAM 3: An underrated, post-modern deconstruction (2000 in Film #5)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, I’m looking at Wes Craven’s threequel, Scream 3

Did we all misjudge Scream 3? That was the question on my lips by the end of rewatching Wes Craven’s threequel to Scream, one of the defining horror movies—indeed movies generally—of the 1990’s, taking a post-modern blade to horror tropes and conventions and slicing through them with abandon.

The first Scream was released in 1996, a year after the nadir example of The Curse of Michael Myers, the sixth Halloween film that suggested the slasher, and the horror franchise machine in general, was bloated and tired. Scream, coasting on a wave of self-reflective pop-cultural analysis, balanced fresh scares and incisive comedy to create a new horror movie icon in Ghostface, the costume that disguised the very human killers immersed in the tropes and cinematic beats of horror movies. Scream 2, while less effective, took a knife to the horror sequel, building on the mythology of the Woodsboro murders of the original while observing the repeating narrative ideas in follow-ups. It made sense, given Scream was all about upending the horror origin story, to deconstruct the storytelling symbols of horror sequels. Every Halloween has it’s Halloween II, right?

Scream 3 naturally extends this same deconstruction to the horror trilogy, commenting from a metatextual standpoint about endings. One wonders if there was a self-knowing irony in this statement, certainly when it comes to horror; many of the most successful horror franchises – the aforementioned Halloween, Friday the 13th, A Nightmare on Elm St etc… – all extended beyond three movies, stretching and sprawling out to innumerable sequels designed to extend the menace, often for box office returns. Scream itself would be no different – Scream 4 arrives by 2011, with a TV series a few years later. Scream 3 therefore ends up a moot point, a concluding chapter to a series that will eventually be revived, a property with as much cultural cache as the traditional slasher franchises it lampooned and deconstructed.

Yet we maybe have treated Scream 3 with too much scorn. With distance, though not on a par with its predecessors, it works in context with the films that came before.

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THE HURRICANE: A powerful case of injustice lacking punch (2000 in Film #1)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

To begin, released over New Year 1999-2000, Norman Jewison’s The Hurricane

There is perhaps a little bit of cheating going on by including The Hurricane in a collection of 2000 movies, given it was released on December 29th, 1999. It is more of a bridge, notable as the major cinematic offering over Millennium Eve; a film that sits between cinema’s first and second centuries.

1999 was last year celebrated across film culture as among the greatest years in cinema history, with a whole range of retrospectives from articles to books to podcasts devoted to its fusion of high-concept event movies, powerful franchise films, and the big-budget legitimising of the Sundance indie-darling filmmakers who would build their careers on some of that year’s defining works. The Wachowski Sisters with The Matrix, David Fincher’s gut-punch adaptation of Fight Club, Sam Mendes’ now tainted American Beauty and Paul Thomas Anderson’s sprawling Magnolia lined up against George Lucas reviving the Star Wars franchise with The Phantom Menace, Pixar’s animated marvel Toy Story 2 and the blockbuster romance of Richard Curtis’ Notting Hill.

It was, looking back, a remarkable year to close out cinema’s formative century. The year 2000 was always going to struggle in its shadow and, truthfully, struggle it does. This is a year in which Mission Impossible 2 is the most profitable box office hit. A year not without its triumphs, among them Ridley Scott’s Gladiator or Steven Soderbergh’s Traffic, but beyond them little that truly remains iconic at a distance in the manner we look back at 1999 and see around the corner The Sixth Sense or The Blair Witch Project or so on and so on. And if any film marks this transition, manages to serve as a pointer to how 2000 will struggle to carve out the same kind of historical legacy as the year before it, that film is surely Norman Jewison’s The Hurricane.

As, while by no means a poor piece of cinema, beyond the most ardent supporters of Denzel Washington, it struggles to truly define itself in any meaningful way.