SCARY MOVIE: a post-modern horror spoof without any post-modern wit (2000 in Film #26)

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, released on the weekend of July 7th, Keenen Ivory Wayans’ Scary Movie

All through watching Scary Movie, a film I missed twenty years ago the first time around, I kept thinking as I sat, largely stone-faced and more than a bit repulsed… would 18 year old Tony have found this funny?

The answer is, honestly, yes. Probably. 18 year old Tony found Road Trip, which we discussed earlier this summer, very funny at the time. It certainly isn’t as nasty as Scary Movie in its frat-boy comedy but it’s just as base, obvious and cheap. Both of these films are aimed, squarely, at youthful or teenage audiences who are rewarded by cheap laughs. However, Scary Movie comes from a different stable. Road Trip is an extension of the post-modern revival of the teen sex comedy. Keenen Ivory Wayans’ spoof harkens back to the Zucker Brothers or Mel Brooks brand of cinematic spoof, in this case directly lampooning the modern horror genre, particularly the post-modern horror genre made up of Scream and I Know What You Did Last Summer, with a few other examples sprinkled in.

In fact, Miramax—the production company behind Scary Movie—were already producing a Scream spoof when the film was written, and WGA arbitration gives the writers of that other script credit here given the ideas were undoubtedly fused together to make what would become Scary Movie. The targets are primarily recent examples of the horror movie inversion, the meta-textual examination of horror tropes, characters and narratives which earlier this year remained still in evidence with Scream 3, which was derided (perhaps unfairly) for taking the concept to the max and making films within films, examining Hollywood within that spectrum. It was perhaps both too soon for a spoof like Scary Movie and exactly the right time, given the sizeable box office take that would lead, over the next fifteen years, to four sequels.

Here’s the thing, though. Scary Movie is terrible. Not just terrible, but *horrible*, and considering it so desperately wants to ape Airplane or Hot Shots etc… it is, despite being younger than those films, infinitely already much more dated.

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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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DOWN TO YOU: A Millennial Romance (2000 in Film #3)

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 the weekend of January 21st, Kris Isacsson’s romantic comedy Down to You

In many respects, Down to You must have seemed like a slam dunk of a proposition in 1999, with the hottest new production studio in Miramax front-lining two recognisable fresh faces from hit movies in a teen baiting romantic comedy. From our vantage point, produced as it is by the Weinstein brothers, it leaves a sourer taste in the mouth. 

It isn’t fair to blame writer/director Kris Isacsson, this being his only feature, or stars Freddie Prinze. Jr or Julia Stiles. Nor indeed is Down to You a horrendous movie through our modern, proportionally liberal-minded prism – indeed in many respects it’s quite a sweet natured picture with it’s heart in the right place. It is, however, cynical; attempting to both cash-in on the traditional romantic comedy genre and the revived interest in the teen movie, thanks heavily to 1999’s mega hit American Pie. While Down to You is not a gross-out comedy from exactly the same ilk, by any means, it is impossible to divorce it from the trends of an era where Miramax were combining their indie sensibility with pop-culture hits and brewing them up with attractive, young stars of the day, principally for the purposes of profit.

Down to You was the biggest box office hit of the January weekend it was released but very quickly collapsed in on itself, not even making back its modest, if not entirely threadbare, budget. You can honestly see why.

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Last Action Hero (1993)

Last Action Hero is both ahead of its time and perfectly positioned *within* the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.

Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me. It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.

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