Any Which Way With Laurence

Xavier Dolan is a very young filmmaker. I don't just mean in terms of his age - although at only 23 his ambition is now embarrassing the rest of us - but in terms of his style, too. Emblematic of a lot of young directors, his brief three-deep filmography has veered wildly about through a list of inspirations as he navigates the terrain for a style that feels explicitly his own. His debut, the ferocious I Killed My Mother, was, I felt, very indebted to the American independent movement and directors of the New Queer Cinema movement of the late 1980s and early 1990s like Gus Van Sant and Todd Haynes. His follow-up, Heartbeats (or Les Amours Imaginaires because the English title is lame), was like a fractured blending of Wong Kar-wai and the French New Wave. I adored them both, loved them even. For such a young filmmaker to hold such command is admirable to say the least. He wore his inspirations on his sleeve, sure, but the boldness of his storytelling and the captivating way he brandishes his style made for exciting cinema. He embraced overt style in a large-scale more than any director since Baz Luhrmann or Tarsem Singh - at least that I could think of, and as somebody with a penchant for that very type of cinema, it thrilled me to no end.

With Laurence Anyways, Dolan has made perhaps his strongest statement yet for what the rest of his career may hold. A near three-hour boutique epic if you will that charts the relationship between two individuals once the man (Melvil Poupaud in a role that demands a liquid transformative quality) decides to live the rest of his life as a woman, Laurence Anyways was clearly a demanding undertaking for the Canadian director. For the first time Dolan has removed himself from the on-screen equation (except for a brief Hitchcock style cameo during the dazzing "Fade to Grey" musical number) and stuck to a mere three hyphenated role as writer-director-costume co-designer. Still, his inspirations remain front and centre and, perhaps, that's just the way he wants it and perhaps that's his actual signature trait ala Quentin Tarantino. Of course, Dolan's work is more homage than pastiche, as he recreates and recrafts his favourite elements of cinema into something altogether unfamiliar. As he experiences more of the world - and his films imply he's already experienced quite a bit that's worth examining through a lens - I suspect his films will only grow more assured, which is an alarming concept given the impeccable streak he's already on.

With this film, Xavier Dolan has seemingly found a way to blend the exuberant flamboyance of Pedro Almodovar with that of the winsome melancholy of Sofia Coppola. Regarding the former, he all but goes out of his way to reference both What Have I Done to Deserve This? and All About My Mother, whilst allowing many moments of the film to revel in the hyper-textural landscape that the Spaniard is known for. Coppola, on the other hand, is much like Dolan in that she's used her own inspirations to help create her own style that feels both something borrowed and something new at the same time. Laurence's affinity to baroque synth-pop of the 1980s and classical instrumentals can't help but recall Coppola's Marie Antoinette, but the influence is also there in the way Dolan is able to turn a quiet moment of seeming insignificance into a painting of a thousand words. As the final scenes show the transformed Laurence finally recognising her true self and potential, the same may certainly be said for Dolan himself. Laurence Anyways is a messy film at times, but its those loose threads that give it an identity all its own, and with this film the intrepid Canuck may have just found his unique, true path to set out on.

Full of ornate, delicate beauty, Laurence Anyways is such a strong piece of filmmaking that I can't imagine its images and soundscapes escaping my memory any time soon. The billowing purple coat as Laurence's ferry takes him away through the ice, the darkened laser-lit nightclub sequence, the assortment of over-sized jackets worn by Suzanne Clément, the look of gee whiz surprise on her face as she teaches Laurence to apply make-up, the pink brink amongst a wall of white, a broad-shouldered person, whose face we don't see, disappearing into a cloud of white smoke... just remembering them now (and many others) is making me ache. This film is so incredibly beautiful that I could barely stand any more than the 160 minutes we got. Filmed in 1:33 Academy ratio, the film is nevertheless sumptuously crafted with stunning costumes and cinematography that lend the oft-maligned time period a rich decadence. The stand-out scene, a hypnotic ballroom dance sequence set to the classic beats of Visage's "Fade to Grey", is a cavalcade of hypnotic visuals as Clément struts about as if Dolan has decided to recreate a 1980s music video to full anything goes excess. Full to the brim with divine cross-fades and breath-taking camera swoops, zooms, and pans, it's an utterly awe-inspiring moment of pure grandeur and if a moment comes along in 2013 that is as eye-opening and rewatchable as that then 2013 will be a mighty good year.

And as if that scene wasn't enough proof, Suzanne Clément is truly magnificent as Frederique. She has such power in her performance that the film feels as if it's more about her journey than his. Whether breathlessly arguing with a nosy waitress, laughing maniacally along to Kim Carnes' "Bette Davis Eyes" in a pot-fuelled car trip, or attempting to present a facade of normalcy as she tries to live a suburban life away from the drama of Laurence, Clément gives a performance of fiery range. She's a stunner. I can only hope that Dolan's next film proves as magnetic as Laurence and that he continues to tell queer stories in a completely unabashed way. We need a few more directors like him who are willing to go there and make "gay cinema" that embraces all the facets, both positive and negative, of our lives, whilst also inhabiting the skills to make them technical marvels. A- / A

Scream to Scream, Scene by Scene: SCENE 15 of Scream 3 (0:55:34-0:59:15)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!



SCENE 15 of Scream 3
Length: 3mins 41secs
Primary Characters: Gale Weathers, Jennifer Jolie, Bianca Burnette (Carrie Fisher).
Pop Culture References:

• Star Wars and George Lucas

Thank god that's over! Now we can move on to what Scream 3 does best: Gale & Gale Investigations. It's like Scooby Doo, but with two narcissistic Hollywood types. Of course, even though the worst scene in Scream franchise history is over, doesn't mean the national nightmare that is Scream 3's costume design is also over. No sir, Courteney Cox's unflattering ensembles are still here to stay.



This movie really did overdo the "boo machine" scare tactic. Like, way way overboard with that. These characters are out in broad daylight surrounded by hundreds of people... I mean, Roman's a dumb serial killer, but he's not that dumb.

"What the hell are you doing?"
"Being Gale Weathers! What the hell are you doing?"
"I am Gale Weathers."

Gale weathers is such a complex character, after all.

"Here's how I see it. I've got no house, no bodyguard, no movie, and I'm being stalked. 'Cause somebody wants to kill me? No. Because somebody wants to kill you. So now, starting now, I go where you go. That way, if somebody wants to kill me, I'll be with you, so if they really want to kill you they won't kill me. They'll kill you. Make sense?"
"None."
"You know, in the movies I play as you being much smarter."
"And as a sane person. For you that must be quite a stretch."

You know, Jennifer's reasoning actually makes a lot of sense in a general way, although it also doesn't make sense because if the killer was simply trying to kill off people from the original killings then why kill Sarah after Cotton?

"Need to get in that building?"
"Yeah."
"There a story in that building?"
"Maybe."
"Gale Weathers would find a way."

"Bitch!"

I could watch these two all day.

Flawless. And I kinda love that Marco Beltrami's score takes a turn for the Angelo Badalamenti-meets-Clue in this moment all but completing the film's swerve from slasher to old-fashioned whodunnit mystery. Sherlock Holmesy, even.

"Basements give me the creeps!"
"You'd make a fascinating interview."

Ooh, burn!

And, yes, I am very much aware that somewhere along the line I've stopped even attempting to provide thoughtful, probing insights, and have instead resorted simply to quoting Gale and Jennifer, letting you swim through Courteney Cox and Parker Posey's sublime divinity.

Of all the times to not try and give audiences a fake scare, they go for the scene in the studio basement? That makes no sense. They may Heather Matarazzo's entrance into a boo machine testing suite and yet here all we get is a noise off in the distance. No threatening music cues or prolonged sequence of terror? Sigh. But, then again, maybe they thought Randy's sister was enough to terrify people for days on end and that they didn't need any more? (I'll get over that scene eventually, you guys!)

"Hey, are you-"
"No."
"But you look just li-"
"Like her? I've been hearing it all my life."
"It's uncanny!"
"I was up for Princess Leia, I was this close. So who gets it? The one who sleeps with George Lucas."

Ignoring the fact that the thought of sleeping with George Lucas is now in my brain and can never be erased, the story flies in the face of history, which tells a story of Carrie Fisher and Sissy Spacek being cast in Carrie and Star Wars respectively. They then swapped for some reason and history played out the way it did. Can you imagine Spacek in Star Wars? No, neither can I? Can you imagine Carrie Fisher having the career that Spacek did? No, neither can I. Funny, that. Although, I think there's a story in the Scream 3 audio commentary about this scene (or at least parts of it) being written by Fisher herself, so who knows...

"I don't work for the cops, I work for the studio."
"Really, well, would you work for... the President?"
"The President... of the studio."

"Fifty dollars? What are you, a reporter for Woodsboro High?"

And that, ladies and gentlemen, is why I'm grateful Scream 3 exists. Parker Posey just tears through this part, doesn't she? I would have placed her in my top five supporting actresses of 2000, for sure (alongside this and Best in Show she was quite prolofic at the time, although I'm not quite sure where she's gone too after Superman Returns in 2006). Anyway, I know we give Ehren Kruger a lot of flack for many of the film's biggest faults, but I can't deny that he came up with some zingers and in this instant didn't even fall back on a Nancy Drew joke like he so easily could have. Amazing.

Of course Sidney's mom never made it big in Hollywood if her stage name was Rena Reynolds!

"Rena Reynolds... stage name."
"You should talk, Judy Jergenstern!"

JUDY JERGENSTERN! I want this frame printed and hung on my wall. It fills me with so much joy.



FLAW-LESS.

I could quote the expository dialogue that links Sidney mother with Stab producer John Milton and his early horror films like Creatures from the San Andreas Fault, Amazombies, and Space Psycho, but let's just bathe in how incredible those fake movie titles are and imagine how wonderful it'd be if they really existed. Preferably starring Parker Posey. Because you know she'd be aces in them. Also: Maureen (nee Rena) was in a stage play called I Want to Scream. Well, that certainly proved prophetic, no?

Scream:
Intro, Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14, Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, Scene 31 Scene 32, Scene 33, End Credits

Scream 2
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14. Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, End Credits

Scream 3
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14

Scream to Scream, Scene by Scene: SCENE 14 of Scream 3 (0:51:25-0:55:33)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!



SCENE 14 of Scream 3
Length: 4mins 8secs
Primary Characters: Sidney Prescott, Dewey Riley, Gale Weathers, Martha Meeks (Heather Matarazzo), Randy Meeks (Jamie Kennedy), and Detective Wallace.
Pop Culture References:

• The Godfather Part III and The Return of the Jedi (Used as trilogy examples)
• Reservoir Dogs (Randy describes a potential crime scene this way)

Are you ready for the worst scene in the entire franchise? Gosh, I HOPE SO!

Oh my gawd. Do you know what's behind that door? WELL DO YOU? It's something far scarier than Ghostface could ever be. And given it's daylight on a heavily populated location, the film's use of the "boo scare" reveal just makes the following character introduction ever worse. Sigh. It gives me great pains to present to you...

"Don't shoot, I'm only 17!"

MARTHA MEEKS AND THE HIDEOUS GOLD ANIMAL PRINT PANTS FROM HEEEEEELLLL!!

No, but seriously, Martha is awful, and her clothes are awful, and this scene is awful, and Heather Matarazzo is awful (in this), and Martha is awful, and her clothes are awful, and her clothes are awful, and Martha is awful.

Well, you get the picture. Literally.

Not only did they have to give Heather Matarazzo an entirely terrible character that wears entire terrible clothes and exists for entirely terrible expository reasons, but they make the actress say ludicrous rubbish dialogue like the bonmot underneath the screencap. I just can't with this scene, you guys. Every single time I watch this movie I skip it. Well, that is unless I'm screening it for somebody for the first time and they've never witnessed the shocking sights that it holds in its tight, leopard print grip. *shudder*

Well done anonymous police extras. I feel much safer knowing Heather Matarazzo can't stab me to death now that you're around. :/

"What are you doing here?"
"There's something you guys should see."

No seriously, what is she doing there and how did she get onto the lot? "I'm the real life sister of somebody portrayed in Stab" probably doesn't get a lot of gorky 17-year-olds onto film sets these days. Could she not express post the video rather than jumping out of film set trailers in retina-burning pants? SHOULDN'T SHE BE IN SCHOOL INSTEAD OF GALLIVANTING AROUND LOS ANGELES?!? "We miss you in Woodsboro," she says. Yeah, I'm sure they're really disappointed that a new serial killing Ghostface is on the scene and has decided to take up residence in another town. Really disappointed. That does remind me of one of Scream 4's most potent moments, when a crime scene onlooker goes all The Birds on Neve Campbell's Sidney and blames her for bringing the killings with her. But we're getting ahead of ourselves, aren't? This scene has plenty more awful stuff to go yet.

RANDY!

And yet still one of the worst decisions they could have made. It's just silly, isn't it? I mean, this shit is morbid for Martha to be holding on to that tape just in case another killer comes around, isn't it?

"Toldja I'd make a movie some day! Well, if you're watching this tape it means, as I feared, I did not survive these killings here at Windsor College. And that giving up my virginity to to Karen Colcheck at the video store was probably not a good idea."
"Karen Colcheck?"
"Yes, Karen Colcheck."
"Creepy Karen?"
"Shut up! She was a sweet person. We were working late, putting away some videos in the porno section and, ya know, shit happens."

Oh lord, the video tape back and forth between Dewey and Randy! :/

I'm glad you find your goody future husband's banter so funny, Gale, but while you're here in this scene, I think we can all agree that we'd much rather be watching Gale & Gale Investigations on another channel.

I'm not gonna lie, guys. I'm debating whether to even include Scream 3's "trilogy" rules. I mean, it's just so silly and tacked on. This would have at least made more sense if, as Scream 3 was originally meant to do, it was set in Woodsboro. Alas.

"The reason I am here is to help you so that my death won't be in vein. So that my life's work will help save some other poor soul from being mutilated. If this killer does come back and he's for real, there are a few things you gotta remember. Is this simply another sequel? Well, if it is: same rules apply. Here's the critical thing. If you find yourself dealing with an unexpected back-story, and a preponderance of expedition then the sequel rules do not apply. Because you are not dealing with a sequel. You are dealing with the concluding chapter... of a trilogy!

That's right, it's a rarity in the horror field, but it does exist. It's a force to be reckoned with, because true trilogies are all about going back to the beginning and discovering something that wasn't true from the get go. Godfather, Jedi, all revealed something that wasn't true that we thought was true. So if it is a trilogy you're dealing with here are some super trilogy rules...

"1. You've got a killer who's going to be super human. Stabbing him won't work, shooting him won't work. Basically in the third one you gotta cryogenically freeze his head, decapitate him, or blow him up.
2. Anyone including the main character can die. This means you, Sid. It's the final chapter. It could be fucking Reservoir Dogs by the time this thing's through.
3. The past will come back to bite you in the ass. Whatever you think you know about the past, forget it. The past is not at rest. Any sins you think were committed in the past are about to break out and destroy you.

And he goes on to wish them good luck and, "for some", a see you soon invitation. Of course, nobody from this group actually did die, nor did the finale end up like Reservoir Dogs. If anything, Scream 4 adhered to the rules of Scream 3 much more than Scream 3 did. Funny to note that there was originally a fourth rule, "never be alone." It was taken out because, hilariously, Gale goes off by herself (and the others let her without a fuss, curiously) as soon as Martha leaves.

An amber-hued hair clip. Seriously. AND THOSE PANTS OH MY GAWD! Of course, it just keeps better and better worse and worse.

!!!!!!!!!!!!!!!

I repeat.

!!!!!!!!!!!!!!!

How long until this late '90s, early '00s fashion trend takes off again?

AND THEN THEY JUST SEND HER ON HER WAY!

Sorry for getting so shouty, but it bears shouting. I mean, she shows up out of the blue in Hollywood, shows them a video tape, and then just walks off into the (figurative) sunset. Hell, I'd be thinking she was a suspect. Especially given what her brother's own video said about the past and the beginning and things never being what they seem. Is it too crazy for these guys to assume (or at least Gale since she doesn't personally know Martha) that maybe Randy was a puppeteer from the very start and now he's using his meek sister (lol, MEEK!) to play out some of his dirty work?

You guys, I just came up with the better ending to Scream 3. Sigh.

Even if that wasn't the case, wouldn't they feel a bit strange about sending this 17-year-old off by herself amongst Hollywood as a serial killer is on the loose specifically targeting people with connections (however fictional) to the original Woodsboro?

Sigh.

Thank gawd that's over because one scene later we revisit Gale & Gale Investigations, which is basically what I want my life to be like, okay?

Scream:
Intro, Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14, Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, Scene 31 Scene 32, Scene 33, End Credits

Scream 2
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14. Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, End Credits

Scream 3
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13

Wild Open Waters

Saturday was a long day that began with a discussion about The Guilt Trip on the radio that turned into a delirious vaudeville act of Barbra Streisand jokes, and then developed into a day out at the tennis. I cheered on players I didn't know against other players I didn't know (they turned out to be good matches though, and the games involving more famous players like the Williams sisters and Tsonga were straight set duds), and briefly spotting Novak Djokavic. Naturally I was surrounded by onlookers who were, like me, only out for a perve (er, can you blame us?). By the time I got home late in the evening I needed some movie viewing that wasn't, shall we say, dramatically challenging. After digging through the stacks of films I have, I chose The River Wild. Because, you know, why not?

Directed by Curtis Hanson - "from the director of The Hand That Rocks the Cradle" as the poster of elegantly states - this 1994 actioner is one one of those rare beasts that sees an actress of Meryl Streep's age and stature (she was a 45-year-old, duel Oscar winner at the time) taking charge of a genre film. In that regard, The River Wild had a lot of interest behind it for me, not to mention that this era in Meryl Streep's career is a particularly curious one to navigate with titles like She-Devil, Death Becomes Her, and Postcards from the Edge, which were, at the time, seemingly anomalous for her as they branched into thoroughly unprestigious territory.

However, as the end credits rolled, I couldn't help but wish she'd do this more often. Streep obviously verges more on the mainstream side of the fence than some may think, but she so often takes roles in films that are only fleetingly as good and interesting as her performances in them. Making Mamma Mia! may have defied expectations once, but not anymore, and it'd be great if she could take on an original property that felt truly unique and necessary. I'd love to see her put that enviable skill to another film like The River Wild, or, as I've long wished - and said so on multiple occasions - a scary film in the tradition of The Innocents and The Others. Hell, if they have to remake Gaslight like they keep threatening, I'd dive at the chance to see Streep's take on the material. It would certainly pique my interest, because as much as I look forward to the big screen adaptation of August: Osage County, her casting feels particularly musky.

David Straithairn, Josh C Reilley, Meryl Streep, Kevin Bacon, and the kid from Jurassic Park!

Hell, if they just went and rereleased The River Wild, I am sure its reception would be a hell of a lot more positive than it was in 1994. It's score on Rotten Tomatoes - always an iffy prospect for movies made before, say, 2000 - indicates a 50/50 split between those who didn't like it and those who enjoyed it as little more than disposable genre fluff. It's very easy to hypothesise that if this white water rafting thrill-seaker action flick (yes, I'm guessing that was once used as a way to sell The River Wild!) being made today with, for instance, Jessica Chastain (they'd naturally cast younger, but in a pinch maybe they'd choose Sandra Bullock?) and Jeremy Renner in the Kevin Bacon villain role and being greeted with rapturous response. Given the dire state of action filmmaking, The River Wild's more old school sensibility - lack of plastic CGI, actual identifiably flawed human characters, established adult actors over "next big thing" type gambles - would surely prove a calming respite from a world full of John Carter, The Hobbit, and The Avengers. I mean, the amount of times I've read "good enough" (or a variation of it) in relation to an action film outside the realm of superheroes and sci-fi is alarming.

It's perhaps possible to make the argument that I am projecting modern day action film disappointment on to The River Wild and claiming it to be greater than it actually it. I certainly wouldn't shoot you down if you said that, but I do think the film is a remarkably effective one for many of the reasons I've already stated. Streep's aura of authority looms over the film, propelling its dramatic moments to as high a peak as its adventurous, oft-thrilling action setpieces. I admired the way Jerry Goldsmith's score and Robert Elswit's cinematography go together so handsomely. And I though Hanson's handling of the action scenes - as potentially messy and discombobulating as ones involving white water rafting could get - were all superb. "Meryl Streep kicks ass" isn't a saying that can be uttered all that often, but in doing so here she helped make The River Wild a cut above the rest. B+

Scream to Scream, Scene by Scene: SCENE 13 of Scream 3 (0:47:27-0:51:24)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!



SCENE 13 of Scream 3
Length: 3mins 57secs
Primary Characters: Detective Kincaid, Gale Weathers, Dewey Riley, Sidney Prescott
Pop Culture References:

• Kiss Me Deadly and Murders in the Rue Morgue (posters on Kincaid's wall)

I love that Kincaid (or, ya know, the set decorator) has a newspaper clipping on the wall headlined "A 'Nice Vice'". I can only imagine that it's a puff piece about himself that he hangs on the wall in prize position near posters for old scary movies like Kiss Me Deadly and Murders in the Rue Morgue.

"Who knows more about Maureen Prescott than her own mother?"

Er, considering you just admitted that Sidney once identified the wrong killer in court and that it's documented Sidney didn't know her mother's scandalous past before Tatum went all Richard Gere on her, you're probably not gonna get much out of her.

Also: 2000 was a popular time for baggy dress shirts, wasn't it? Christ, even I had some at the time. They were my "formal" look. LOLOLOLhate.

"Do you wanna have this conversation with a polygraph?"

"Was that a threat, Detective?"

"When it's a threat, you'll know it."

"Was that a threat?"

I think this dialogue is meant to be menacing, or something. Is it meant to be setting up Kincaid as a potential suspect because (oh dear) he likes scary movies and may have an anger issue. It's hard to tell, I'm too dazzled by Ehren Kruger's sparkling dialogue in this scene. To wit:

Boys, boys, let's compare our gun calibres later!"

What entendre!

Also: It was a complete accident that I paused the video on that moment with Courteney's face doing... whatever the hell it is it's doing. I'm not sure what it is, but you never can tell these days with her face.

Sid making a superstar entry into the LAPD station, of course.

Erotic.

The music in this reunion scene between Sid and Dewey, as well as Sid and Gale directly afterwards in Kincaid's office, is really terrible. It's thick like syrup like everybody on the production forgot where they were and decided to make it into a scene from a TV movie about a kidnapped girl being returned to her mother 20 years later. Or something. What would I know?

So apparently Neve Campbell is on Grey's Anatomy now? Or she was? I'm not sure. Anyway, she gave an interview where she discussed working about with Patrick Dempsey and it just reminds me how strange is seems now for the man to have been cast in Scream 3.

Did you have fun reuniting with Patrick Dempsey, having done a Scream movie together?

CAMPBELL: Yeah, it was really fun! I hadn’t seen him since Scream, so it had been at least a decade. He’s a great guy. They’ve been on that show for nine years, so they definitely know what they’re doing. It was fun to be around a group who have been working together for so long.

Any chance of there being a Scream 5?

CAMPBELL: We’ll see. I’m not sure they’re going to make it, to be honest. If that were to come up again and they were to approach me, I’d have a chat with them about it.

Hmmm.

I think in this scene, amongst some others, you can really tell Neve Campbell wasn't entirely with it on Scream 3. I don't mean "with it" in the sense that, say, Lindsay Lohan isn't with it anywhere anytime anymore, but "with it" in the sense that she probably didn't feel particularly inspired about making the film. Her role was already reduced significantly, almost to a supporting role for half the run time, and here she barely seems to raise a pulse as she finds out her mother is a significant part of the investigation. She was, however, totally "with it" in Scream 4 in case you're wondering.

Of course, upon seeing the photographs Sidney asks to go to the place they were taken. That means two things: a) more amazing Gale and Gale murder investigations, b) the worst cameo in the entire franchise. The worst everything in the entire franchise, actually. I shudder just thinking of it. We'll get to that next time though.

Scream:
Intro, Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14, Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, Scene 31 Scene 32, Scene 33, End Credits

Scream 2
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14. Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, End Credits

Scream 3
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12