Scream 3 (2000)

Scream 3 brings a blood-drenched, bravura conclusion to the trilogy with its smart, sharp edge intact; it is genuinely scary and highly amusing, regaining the edge lost in the previous installment.

A devilishly clever, supremely entertaining thrill ride, funnier and more intriguingly plotted than previous entries, with smart in-jokes and expertly staged setpieces.

The critic praises the film's logical self-referential structure set on a Hollywood film set and its smart-alecky dialogue that reproduces the series' style. It appreciates the movie-industry satire and Hollywood references while hoping the trilogy ends there.

The film is funny and brisk with enough good lines to make the comedy more satisfying than the routine jolts; it functions as much as a personality show as a slasher film.

Hyped as the final chapter, Scream 3 is a crafty and well-crafted wrap-up that brings a satisfying sense of closure to the franchise through its witty handling of the series' conventions.

The film delivers satisfying comedic schlock horror with energy and strong cameos, but the premise is starting to wear thin as the trilogy concludes.

Wraps up the trilogy with just enough style to satisfy fans, though the script lacks bite and grows goofier; charm in campy elements and strong performances from Posey and Fisher.

Scream 3 is a workmanlike slasher that lacks the intensity and thrills of the first two entries, though it maintains the series' irony and self-referential humor.

The film offers post-modern horror with in-jokes and meta elements but feels past its prime, with formulaic murders only intermittently relieved by sharp gags.

The critic finds the characters thin and the film a lite version of self-aware horror, expressing relief that the series has ended. He notes some fun in cameos and praises Neve Campbell's screen presence.

The critic finds Scream 3 disappointing and not ruthless enough, with a weak killer reveal and stretched visual imagination, though it has some fun in-references and good bickering between characters.

The critic finds Scream 3 arbitrary and clumsily executed without the original's ingenuity or the second film's tense set pieces. Craven appears to be going through the motions for a paycheck, with recycled ideas and little craftsmanship on display.

The film is tiresomely over-plotted with no real jeopardy, mechanical jolts, though some good performances; a poor carbon copy of New Nightmare.

The critic argues that Scream 3 has been misjudged and works well as a knowing subversion of trilogy conventions and Hollywood excess, particularly its commentary on toxic Hollywood figures.

The film is an utter mess, hampered by production chaos, a weak script from a new writer, and diminished returns on its meta elements. It sidelines core characters like Sidney and leans on contrived plotting and continuity issues that undermine the franchise's clever origins.