Scream 3

We’ve seen this movie before.

(2000) Horror Comedy (Dimension) Neve Campbell, Courtney Cox-Arquette, David Arquette, Liev Schreiber, Patrick Dempsey, Lance Henriksen, Kelly Rutherford, Parker Posey, Emily Mortimer, Jenny McCarthy, Kevin Smith, Jason Mewes, Deon Richmond, Patrick Warburton, Jamie Kennedy, Heather Matarazzo, Carrie Fisher, Scott Foley, Julie Janney. Directed by Wes Craven

As one character says, in the third installment of a trilogy, all bets are off. That can be a good thing and bad – it gives you the freedom to deviate from the course set by the first two films but sometimes lose the essence of what made them successful in the first place. Perhaps that’s why so few of them are really that successful, both artistically and financially.

Talk show host Cotton Weary (Schreiber), the man accused of the murder of Sydney Prescott’s (Campbell) mother (and later exonerated by the events of the first movie), is brutally killed in his apartment, and of course intrepid (and irritating) journalist Gail Weathers (Cox-Arquette) is on the case. Meanwhile over in Woodsboro a movie called Stab 3 is being shot.

Soon, cast members of the third movie of a series of movies based on the events in Scream (talk about art imitating art) are beginning to turn up dead, in the exact order that they are bumped off in the script. Former deputy-turned-technical advisor to the movie Dewey Riley (Arquette), in his own laconic way, is out to protect his friend Sydney, as well as rekindle a romance with Gail, with whom he has broken up twice (art imitating life, kind of). Sydney, for her part, has secreted herself in an isolated, rural home with lots of high-tech security. Still, even Dewey can’t protect her from the visions of her dead mother and for the most part, from the Ghostface killer who continues to stalk her.

Much of Scream 3 is pretty formulaic and is just the kind of movie, ironically, that the original Scream poked fun of. Although Craven deviates here from the tradition of murdering a lovely young starlet before the opening credits (a la Drew Barrymore and Jada Pinkett) by taking out Schreiber, they do manage to send Jenny McCarthy to join the Choir Invisible, getting a hearty “Amen!” from critics everywhere. We critics are a vindictive lot.

Still, director Wes Craven knows how to yank out all the stops, but the loss of screenwriter Kevin Williamson, who penned the first two Screams, is keenly felt (he would return for the fourth installment). This one doesn’t have the hipness quotient, the humor, or the insight into horror movies that Williamson has. I didn’t guess who the killer was, but by the time the identity of the killer behind the Edvard Munch mask is revealed, I pretty much didn’t care.

Although not bad by the standards of horror movies of the late 90s and early part of the following decade, Scream 3 belongs in the clutches of the robots of Mystery Science Theater 3000 which puts it far beneath the standards of the first two movies. That’s a little too much painful irony for my taste. At the time that this came out, I thought it was just as well Craven decided to bury the franchise at that point, since the corpse was smelling mighty bad. Scream 4 was a bit of a redemption but not enough to make up for this, the worst installment of the franchise to date – although it DOES get points for the Jay and Silent Bob cameo. Craven knows hip when he sees it. Honestly though, once you’ve seen the first two movies in the series you’re pretty much done.

WHY RENT THIS: Jay and Silent Bob show up. Seriously, that’s about it. There are some fans of the series who are very affectionate about this movie though.

WHY RENT SOMETHING ELSE: Been there, done that, done better.

FAMILY MATTERS: Plenty of violence and foul language although not as much as in earlier films of the series.

TRIVIAL PURSUITS: Nick Cave’s “Red Right Hand” is played at some point in all three films of the original trilogy.

NOTABLE HOME VIDEO FEATURES: There is a music video by Creed, an outtake reel and a montage of footage from all three films (fittingly set to “Red Right Hand”).

BOX OFFICE PERFORMANCE: $161.8M on a $40M production budget; the movie was a big hit for Miramax/Dimension.

COMPARISON SHOPPING: Scary Movie (only unintentionally funny)

FINAL RATING: 4/10

NEXT: Brother’s Justice

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Hugh Hefner: Playboy, Activist and Rebel

Sex in the early '60s: Hef and the Bunnies.

(2009) Documentary (Metaphor) Hugh Hefner, Bill Maher, Tony Bennett, George Lucas, Joan Baez, Jim Brown, James Caan, Jesse Jackson, Jenny McCarthy, Gene Simmons, Shannon Tweed, Pete Seeger, Mike Wallace, David Steinberg, Dick Cavett, Tony Curtis. Directed by Brigitte Berman

There have been many polarizing figures in the 20th century. Ronald Reagan, for example; conservatives look at him as a great president, one whose economic philosophy have shaped our economy for the past thirty years and have led us to unprecedented prosperity. Liberals look at him as the architect for our greed-dominated society and see his presidency as an American tragedy.

Hugh Hefner gets the same sort of reception. The publisher of Playboy magazine is responsible for the popularization of the centerfold. To the minds of the radical feminists, he has led to the objectification of women and is indirectly or directly responsible for the rape and abuse of women by men who have bought in to his philosophy. To conservatives, he is an immoral man, dedicated to the destruction of American society and the corruption of American morality.

Most people see the swinging lifestyle; the pajamas, the pipe, the smile and the 20-something women cavorting at the Shangri La-esque Playboy mansion. They see an octogenarian with seven girlfriends young enough to be his great-great granddaughters and yes, there is an element of the ridiculous to it. Overkill at the very least.

But there is more to Hef than meets the eye, and those who have followed his career will know that. Hef has been a crusader for First Amendment rights through his magazine, supporting the legal defense of those rights (often with cash donations) and during the Blacklisting era, printing pieces by Dalton Trumbo and other writers who could get no work elsewhere.

He has also been a champion for civil rights. His Playboy clubs and “Playboy After Dark” television show gave exposure to African-American performers who might never have gotten an audience. Sammy Davis Jr., Dizzy Gillespie and Dick Gregory all regularly worked in Hefner’s establishments. He supported Martin Luther King’s agenda both editorially and with contributions to his cause.

And he has also defended women’s reproductive rights as well as their civil rights as well. He has supported the “Equal Pay for Equal Work” theory as well as nurturing the careers of women into executive positions at his own company. He works tirelessly for the environment as well as for the preservation of jazz, an art form he’s passionate about.

Berman was given unprecedented access to the magazine’s archives and to Hefner’s own personal collection of letters and documents; she also was able to get her hands on footage from Hefner’s television shows which are some of the most fascinating moments of the film.

Hefner is often simply thought of as a pornographer and a fairly mild one at that; his pictorials tend to be much more artistic and less hardcore than those of, say, Larry Flynt or Bob Guccione. In some ways, he’s rather archaic – Playboy is essentially less of a factor in publishing the pictures of naked women than the Internet is. His legacy, however is far more complicated.

Hef didn’t invent sex but he brought it out of the recesses of puritanical dogma. He didn’t make it okay for women to like sex, but he supported the concept and helped popularize it. He didn’t objectify women – that’s been around far longer than Playboy – but he did help develop what the male ideal was for women physically (can we all say big boobs?) and make being a centerfold an aspiration for many women.

There is nothing wrong with sex. There is nothing wrong with being sexual. Pleasure doesn’t have to be a dirty word. But sex goes arm in arm with responsibility and Hef knew that. He used the prurient interest in his magazine to fund his social causes and there is some irony in that.

Tarring Hefner with the brush of a pornographer misses the point of what he’s done, and is rather simplistic and naive. I don’t always agree with his lifestyle and I wonder why he has rarely gone for women closer to his own age – I also wonder if there is too much emphasis on sex in his philosophy. Sex is, after all, only a part of life and while it is an important part, it’s not the most important part.

But that’s once again not all there is to Hefner. He has championed causes that have needed a champion, and has stood up for things that were unpopular back in the day. Most importantly, he has helped usher in a change of American values and hopefully, not all of it has to do with sex. Some of it has to do with compassion and the dignity of all people. Hugh Hefner may not be a hero to most, but in all honesty he deserves to be and this movie captures that largely unremarked upon aspect of him.

WHY RENT THIS: A fascinating look inside the legend. Some great footage from the old “Playboy After Dark” television show. 

WHY RENT SOMETHING ELSE: Doesn’t really challenge much. Presents Hef as a bit of a saint.

FAMILY VALUES: There is some nudity (of the Playboy centerfold variety) and a bit of sexual content as you might imagine.

TRIVIAL PURSUIT: Berman’s previous documentary was about big band leader Artie Shaw.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $10,000 on an unreported production budget; I suspect the movie was unprofitable.

FINAL RATING: 7/10

TOMORROW: J.Edgar