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What is a Film Review — Definition, Examples & Top Critics

I n cinema, film reviews hold a significant place, serving as a bridge between the film industry and viewers. They provide an analytical perspective that helps audiences decide what to watch and understand the nuances of a film. In this article, we will delve into the definition of a film review, its critical components, and shed light on some iconic film review writers who have significantly shaped the field.

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What is Film Review in Cinema?

First, let’s define film review.

Film reviews hold a unique place in cinema acting as both promotional tools and critical analysis pieces. With the rise of platforms like Letterboxd and Rotten Tomatoes, they are becoming more relevant in the cinematic landscape.

FILM REVIEW DEFINITION

What is a film review.

A film review is a type of critique that provides an evaluation of a film, encompassing various aspects such as the plot, themes, direction, script, and performances. Originating in the early 20th century with the advent of cinema, film reviews have evolved from mere opinion pieces in newspapers to a significant form of journalistic writing. The primary purpose of a film review is to inform the reader about the film and offer an informed opinion about its various elements. It serves as a guide for viewers, helping them decide whether the film is worth their time and money.

Criteria for Movie Review:

Overview of the film, analysis of the plot and themes, evaluation of the script, direction, and acting, personal opinion and rating, movie review format, components of a good film review.

Film reviews are a blend of various vital components, each contributing to a comprehensive analysis. From evaluating performances and storytelling to dissecting technical aspects, a well-rounded review provides a holistic perspective. By examining these elements of a movie review format we can gain a deeper understanding of the film's impact and appreciate its artistic merit.

This includes a brief synopsis that sets the context without revealing any spoilers . The overview should pique the reader's interest and give them a sense of the film's storyline. Here is one of the greatest film critics, Roger Ebert, on what a film review should do. 

Roger Ebert What A Movie Review Should Do

This involves a deeper look into the narrative and the underlying themes of the film. It should explore the storyline's complexity, originality, and coherence.

This component assesses the technical aspects of the film, such as the screenplay , cinematography , direction, music, and performances. It also includes an assessment of how these elements contribute to the overall impact of the film. 

This is much more popular with the rise of film criticism on YouTube in which film critics can simultaneously play and dissect a scene for an audience. In this video by Nerdwriter1, Paul Thomas Anderson’s There Will Be Blood is dissected visually in a way that would be difficult or at least less effective without a video component.

One Way To Deconstruct There Will Be Blood

This is where the reviewer shares their personal view and overall impression of the film. It often includes a rating system, which can help readers quickly gauge the reviewer's opinion.

A good film review strikes a balance between objective analysis and personal perspective. It is also important that the review uses engaging language and style to hold the reader's attention.

What is Film Review Important For?

Influence of film reviews.

Film reviews have a significant impact on public opinion and can greatly influence the success of a film.  A positive review from a reputable critic can attract more viewers and increase the film's box office revenue. On the other hand, a negative review can dissuade audiences from watching the film.

Attracting Viewers

Positive reviews can generate buzz and attract a larger audience to the theaters. They serve as a powerful tool in building anticipation and interest among moviegoers. Take Rotten Tomatoes for example.

Many film goers opt to check the Rotten Tomatoes reviews of a film before they decide to watch or see it in cinema. 

While this can work well for some movies in attracting viewers, it can negatively impact other films. This is especially true with the way Rotten Tomatoes rating system works. For a great insight on to how the platform works and the possible problems with its ratings, check out the video below. 

The Problem With Rotten Tomatoes

Box office success.

Positive reviews often contribute to a film's box office success. When critics praise a movie, it can lead to increased ticket sales and financial profitability for the filmmakers.

Influence on Perception

Reviews shape how people perceive a film. Positive reviews create a positive perception, making viewers more likely to give the movie a chance. On the other hand, negative reviews can deter potential viewers and impact the film's overall reception.

Critical Acclaim

When a film receives critical acclaim from respected reviewers and publications, it can achieve iconic status. This recognition elevates the film's reputation and can lead to long-lasting popularity and cultural significance.

Parasite’s Historic Oscar Wins in 2020

Film reviews hold considerable sway in the film industry. They not only impact the number of viewers but also shape how a film is perceived and remembered.

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• What is Cinematography? →
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Movie Review Example and Writers

Iconic film review writers.

The field of film criticism has been significantly influenced by several notable writers who have left a lasting impact on the industry. These writers, through their insightful analyses and thought-provoking perspectives, have shaped the way we perceive and appreciate films.

Their contributions have not only elevated the art of film criticism but have also enriched our understanding of cinema as a whole. 

Roger Ebert

Known for his acerbic wit and insightful commentaries, Ebert was one of the most influential film critics. His reviews, published in the Chicago Sun-Times for over four decades, were known for their accessible writing style and keen observations.

Pauline Kael

Writing for The New Yorker, Kael was known for her passionate and provocative reviews. She championed many underappreciated films and filmmakers, influencing public opinion and the course of American cinema.

Pauline Kael on Criticism

Andrew sarris.

A leading proponent of the auteur theory in America, Sarris's writings in The Village Voice and The New York Observer have had a profound impact on the way films are analyzed and appreciated.

Leonard Maltin

Renowned for his annual publication, "Leonard Maltin's Movie Guide," Maltin's reviews are known for their succinctness and precision. His work has guided generations of moviegoers.

Leonard Maltin's Movie Guide

These critics, with their unique perspectives and styles, have made enduring contributions to film criticism, influencing not just audiences but filmmakers as well.

Film reviews, like the movies themselves, are a form of art. They capture the essence of a film, dissect it, and present it to the audience in a refined form. With their insightful analysis, they help us, the viewers, to better understand and appreciate cinema. 

Remember, a review is not meant to replace or reflect your own judgment of a film but to complement and deepen your viewing pleasure. So, read, watch, and form your own judgment — because nothing compares to your own cinematic experience.

How Does Rotten Tomatoes Work?

As we delve deeper into the world of film reviews and their unique influence, let's turn our attention to a specific and influential platform. In the next article, we explore the intricacies of the Rotten Tomatoes ratings system.

Up Next: Rotten Tomatoes Explained →

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'The Crow' Review: Bill Skarsgård Leads the Emo Gen Z Melodrama of My Dreams

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The Big Picture

• The Crow 2024 remake diverges from the original 1994 aesthetic, focusing more on romance and modern visuals.
• The reboot removes the rape scene, giving Shelly more depth, and provides new supernatural elements.
• Bill Skarsgård and FKA Twigs shine as leads in this Gen Z successor, offering a blend of drama, action, and romance.

Inside of me, there are two wolves. Well, in this case, there are two crows. One grew up being fed on a steady diet of Gothic horror action films like Underworld , Hellboy , Blade , and Queen of the Damned . That little crow loves black eyeliner and plastic jelly bracelets, suffered fishnet stockings for the aesthetic, and only wore black for a decade. That little emo corvid would have been obsessed with The Crow . But, then there is the other crow. This crow has seen a few more birthdays, watched a lot more movies, and experienced a whole lot more of life. That bird is far less impressed by this new reboot of a cult classic.

What I'm saying is that after I left the theater having seen this new version of The Crow , I found myself genuinely conflicted about what I thought of it. On one hand, this movie is essentially the bread and butter my teenage self survived off of. It's dramatic, violent, obsessively romantic, and at the heart of it is a pair of doomed lovers . But just because it made me feel that way, did that mean it was actually good? It's not an easy question to answer, at least not for me.

The Crow (2024)

A modern re-imagining of the beloved character, The Crow, based on the original graphic novel by James O'Barr.

What 'The Crow' Improves On and What It Lacks Compared to the 1994 Original

The original film starring Brandon Lee was released 30 years ago, and watching the two Crow movies, you'd have a difficult time discerning that one is based on the other. While the 1994 film blankets a fictional Detroit in a moody, rainy atmosphere, completely indulging in the gothic style that stood out so starkly against other films of that year, the 2024 film backs away from this. Though the elements are there to make it more of a direct reboot, the 2024 film diverges sharply from The Crow 's original aesthetic . In many ways, lightening the dark gothic look of the 2024 film grounds Shelly ( FKA Twigs ) and Eric's story. Their romance feels genuine and tangible, whereas the original film doesn't hammer home the romantic element as well. But while the original film looked wholly unique, embracing Alex Proyas ' dark vision, visually there's nothing truly unique about The Crow of 2024. You'd never catch Lee's Eric Draven in what seems to be Versace boxers, but Skarsgård's Eric has no qualms about donning a silky pair of expensive underwear. It might ruin the vision some have of Eric Draven, but it only serves to humanize him before tragedy strikes this couple.

In this movie, Eric and Shelly are both damaged individuals, broken people who fall head over heels in love with each other and tumble into a whirlwind romance. This film embraces youthful degeneracy. Shelly and Eric are tattooed from head to toe, each inking a representative symbol of a part of their lives. They do uppers, they drink champagne, they have copious amounts of sex, and they do it all in bright technicolor. There are no depressing greys and blacks. The world isn't shrouded in rain and gloom until after Shelly meets her untimely end . While the original film focused almost exclusively on Eric's journey and his desire for revenge, 2024's The Crow gives us more time with our couple so we can watch their romance blossom. While this means that the mood of the film must shift dramatically after Shelly's death, this is actually a point in the reboot's favor. Although the 1994 Crow unabashedly leaned into its gothic identity, from the costuming to the score to the cinematography, there were no half measures; it came at the sacrifice of character development.

We never really know Sofia Shinas ' Shelly. She's the classic fridged woman, killed so that the male protagonist can go on his journey of vengeance, and her rape at the hands of a group of criminals is played as something Eric must suffer through, not Shelly. This is where this new film excels. Shelly is not only given a personality but sits at the center of the conflict. Her issues with Danny Huston 's Vincent Roeg are a mini mystery within the story — not only that, but the reboot thankfully rids this story of any sexual violence. Shelly's rape, which is even more gruesome in the comic by James O'Barr , has never sat well with me. When it comes to sexual assault, female characters are subjected to rape to give the male lead something to feel righteous indignation over. It wasn't about her survival of the attack or the trauma that she's left with; it's about the man's pain. In this, Shelly's story takes center stage , while Eric is merely the symbol of vengeance. There's not a lot that 2024's The Crow does far better than the original film, but giving Shelly more to do and removing any elements of rape is a massive step up.

'The Crow' Doesn't Know What Type of Movie It Wants To Be

The Crow pivots toward the supernatural after Shelly's death. It makes the plot less about Eric taking on a small gang of local thugs, like in the 1994 movie, and more about him solving a larger mystery and conspiracy. While gang violence was a big concern during the '90s, here, Huston's Roeg embodies a more contemporary boogieman, living in opulence and wielding a massive amount of power as a rich man. He preys on innocent souls and is manipulative and even seductive at times, firmly rooted in the supernatural corner of this film. Huston is perfectly devious, though there's not much he has to do other than look menacing while ordering people like his right-hand woman Marian ( Laura Birn ) around. What director Rupert Sanders struggles with is that he's introduced new elements of the supernatural and forced himself to fill in the gaps with shoddy world-building and lore that make little sense . One of The Crow 's biggest flaws is that it doesn't seem to realize that it can't just spackle over narrative plot holes and gaps with larger spectacle scenes or dramatic conversations.

So many moments, upon closer inspection, don't make much sense or pose questions we never get the answers to. At one point, Eric enters into a sort of limbo space between life and death and meets a mysterious man named Kronos ( Sami Bouajila ), and we're treated to multiple infodumps whenever we end up there. This movie is trying to do too much , and where it fails is when it tries to jam both a tragic romance and a supernatural action film into one piece. The only way to explain to the audience how Eric gets his powers, which is left ambiguous in the original, is by downloading the info via a long conversation. Rather than flow naturally into this next part, here the film is telling us overtly, "We are moving to the next chapter, get ready." This transition is by no means smooth, and while some of the action sequences are fun, with one slaughter-fest being particularly gory, it's disappointing to leave the love story, which has so much more narrative weight behind it. Struggling through an identity crisis, The Crow doesn't do enough to serve its core narrative.

How 'The Crow' Was Completed After Brandon Lee's Death

'The Crow' found a way to honor Brandon Lee without disrespecting his legacy.

There's Still Something To Love in 'The Crow,' and It's the Leads

That all being said, this is not an irredeemable movie. In fact, once I got the signal that the story was shifting gears, it wasn't as hard to enjoy the second part of the film as much as the first. What powers the first half is Bill Skarsgård and FKA Twigs . While the dialogue is abysmal at points, Skarsgård and Twigs make up for it with ample amounts of chemistry on screen with each other. Yes, these two are really attractive people, but that's not all they are. If anyone can match Eric Draven's freak, it seems to be Shelly Webster. Both have dark pasts that are unfortunately unexplored, both have a bit of dramatic emo energy to them, and both seem eager to dive into their co-dependent relationship. It's by no means the portrait of a healthy romance, but that's not what we came here for.

From beginning to bitter end, Shelly and Eric are deeply in love. There's no denying that they have found their "person" in the world, and they are almost blissfully happy. Where we are meant to come to that conclusion in the original 1994 film on our own, the 2024 movie shows us their love story . It gives weight to Eric's motivations because we know how lonely he was before Shelly, and how complete he felt with her. When they're not telling each other awful jokes or reading Rimbaud in a literal meadow, they're wrapped up in each other's arms and attached at the hip. Skarsgård is especially convincing as a romantic lead, managing to embrace not only Eric's brooding awkwardness but also a charisma that comes naturally when he's on-screen with Twigs. Meanwhile, Twigs has the added burden of playing out some of the more dramatic scenes, and though they aren't always perfect, there's a sort of performative melodrama to her Shelly that is flawed but impossible to look away from.

When it comes time for Eric to get his powers, Skarsgård transforms from a relatively soft-spoken, gentle giant into a one-man killing machine. The bloodiest scenes in this movie might actually be too much for some viewers. At one point, there is so much blood everywhere I'm shocked there aren't stories of actors slipping all over the corn syrup during these scenes. Eric's transformation into John Wick's very tall, very emo son is gradual. If you don't know, Eric's "power" is that he is essentially invincible. As a sort of ghost of vengeance, he can't be killed . But this new movie's reasoning is different from the original's. So, at the beginning, he is basically a punching bag against the bad guys who are sent his way. He's shot multiple times, run over, beaten, stabbed. Each time we watch his body knit back together in scenes that almost feel Cronenbergian .

But as he levels up, so to speak, Eric achieves full Wick status, and his final action sequences are admittedly very fun to watch. One minute a jaw is ripped off, another minute Eric is skewering multiple people like they're on a shishkabob. It oftentimes borders on comedy with how vicious he can be, but, hey, these are bad guys! We aren't really meant to feel bad for any of these people who have no qualms with killing innocents, right? The Crow loses a lot of its complexity at this point (if it ever had much to begin with), and bonks us over the head with the true message and takeaway of the story so we don't miss it. It's about as subtle as a 6'4" invincible Swedish man who walks around shirtless and is covered in tattoos that you would not want to grow old into.

'The Crow' Is More of a Spiritual Successor

I know, it sounds like I hated this movie, or at the very least, it sounds like I'm having too much fun making fun of this movie. But what is true is that, spiritually, this film is a perfect Gen Z successor to the original film . I checked into this movie fully expecting a bit of cheese, some clunky dialogue, and a story that operates purely on vibes. That's what I got. This film was trapped in development hell for so long, with a bevy of names linked to Eric's character, from Tom Hiddleston to Jason Momoa to Mark Wahlberg . And when I think of what those movies could have been, I will happily embrace Skarsgård and Twigs with both arms. For those who likely rolled their eyes at the laundry list of movies I first listed at the top of this review... well, let's be real. You were never going to watch this movie anyway. But, if you enjoy these types of movies, if you too had an emo phase at 13, if you spent too much time writing awful poetry and discussing surrealism, this is a throwback to a unique point in our cinematic memory, and that alone is worth the price of admission.

The Crow is a flawed love story that stumbles but embraces its gothic and emo roots.

• Bill Skarsgård and FKA Twigs have great romantic chemistry and Skarsgård is a convincing romantic lead.
• The dialogue is often clunky, relying more on the performance of the actors than the written lines.
• The film struggles between being a romantic tragedy and a bloody revenge film.
• The reboot includes new elements of lore and worldbuilding that bog the story down rather than uplift it.

The Crow comes to theaters in the U.S. starting August 23. Click below for showtimes near you.

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‘f9’: film review.

Director Justin Lin returns to the fold for the latest, COVID-delayed installment in the ‘Fast & Furious’ saga.

By John DeFore

John DeFore

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Is it too far-fetched to hope that the Fast & Furious movies could go back to being about hot cars, burning rubber and the bonding that occurs somewhere around the intersection of cops and robbers? This is a series that began with a crew of not-so-bad crooks stealing shipments of DVD players; now, in Justin Lin’s F9 , they’re literally shooting cars into space. Unless FasTen involves time travel, it’s hard to see how this franchise could top itself, and based on the often dull, always bloated results here, it seems foolish to try.

At their best, these later, save-the-world Fast flicks have allowed viewers to thrill to stunts even as they guffawed at their absurdity. But in F9 ’s would-be showstoppers, the thrills are mostly AWOL or the feats are simply too idiotic to embrace, even guiltily.

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See, for instance, the sequence in which our heroes are being pursued across a minefield — they don’t get killed because they’re just too damned fast for exploding mines to injure them — toward a rickety rope bridge. One side of the bridge breaks when the first car has just started to cross it, but the car gets to the other side by following the same laws of physics that govern Coyote/Roadrunner cartoons. Then Vin Diesel ’s Dom, seeing that a single suspension strand remains of what used to be a bridge, somehow jumps his car onto the post holding that strand, knocks it free from the ground, and Tarzans across the chasm to land on the other side. For a series with a main character (Ludacris’ Tej) who routinely urges his buddies to trust in math and physics because Numbers Don’t Lie, Fast really insults any viewer who feels the same way.

Fans may remember, in the last film, the EMP weapon that could knock out every bit of electronics in a high-security military facility while somehow not interfering with the video monitor sitting right next to it. This time around, our heroes head into a chase with arrays of electromagnets in their trunks that are powerful enough to pull heavy trucks across lanes of traffic, or even flip an armored truck the size of a train car end-over-end. But somehow, those magnets have no effect on the axles, gearshifts and made-in-the-’70s steel frames of the muscle cars carrying them.

This probably sounds like more fun than it is. As in Lin’s last feature, the disappointing Star Trek Beyond , the director/co-writer takes a quantity-over-quality approach, throwing more action, subplots and characters into the mix than any movie needs while still leaving one with the sense that something’s missing. The maximalist strategy makes even less sense considering the simple idea at this episode’s heart: Dom has a brother his pals don’t know about; a tragedy in their youth separated them; and now he’s a bad guy.

Why that brother, Jacob ( John Cena ), has to be a Bond-level villain is anybody’s guess. Producer-star Diesel’s heart is clearly with the themes of family that run through FF from episode one. The series’ soap-opera tendencies can lend themselves to fun crime-picture tropes, as when heroes turn against their loved ones for mysterious reasons, only to prove their loyalty in the end. But this new Dom/Jacob crisis is sufficient in itself, and does not require the introduction of a device that can take over every other electronic device on the planet.

Jacob, we’ll learn, was their father’s second-favorite son. Both boys worked on their dad’s racing crew, and we watch multiple flashbacks to the day he died, in a wreck seemingly caused by an aggressive competitor. That death cast a long shadow, the details of which needn’t be revealed here; but Jacob vanished not long afterward, and seems eventually to have turned his hurt feelings into a desire for world domination. (Though the film makes Cena a supervillain, it doesn’t let him upstage Diesel as Cena’s fellow ex-wrassler Dwayne Johnson, absent here, did in previous outings. The charm Cena showed in Blockers and Trainwreck does not blip on the radar here, lest it interfere with Diesel’s signature, leaden acting style.)

Jacob’s arrival as a threat to world peace requires Dom and new wife Letty ( Michelle Rodriguez ) to leave the farm they’ve retired to. They reunite with Tej, Roman (Tyrese Gibson) and the implausibly gifted hacker Ramsey (Nathalie Emmanuel) when a distress message from Mr. Nobody (Kurt Russell) leads to a wrecked plane containing half of a device that could be used to rule the world.

Soon Dom’s sister Mia (Jordana Brewster) has joined the action. On the evil side of the ledger, Jacob and his Eurotrash partner Otto (Thue Ersted Rasmussen) have captured the previous film’s criminal mastermind Cipher ( Charlize Theron ), putting her in a plexiglass-walled cell so she can taunt them with her superior intellect. Other players from earlier films will appear, some more meaningfully than others, but why ruin the surprise?

The script — not penned by series regular Chris Morgan, but sporting dialogue just as flat as usual — takes us to more exotic locations than we’d expect from a Mission: Impossible film, sometimes barely staying in one spot much longer than it takes to ask, “Remind me what country Montequinto is in?” It sets Dom’s crew in a race to find the other half of that world-controlling weapon before Thanos — I mean, Jacob — does, and, when they fail, it asks them to stop Jacob before he can power it up. That’s where the space travel comes in, and really, the less said about that, the better. Suffice it to say that the car jumping from skyscraper to skyscraper to skyscraper in Furious 7 was a lot more fun.

And, not that anyone cares, but it was more believable as well.

Full credits

Production companies: Original Film, One Race Films, Perfect Storm Distributor: Universal Pictures Cast: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, John Cena, Nathalie Emmanuel, Jordana Brewster, Sung Kang, Helen Mirren, Kurt Russell, Charlize Theron Director: Justin Lin Screenwriters: Daniel Casey, Justin Lin Producers: Neal H. Moritz, Vin Diesel, Justin Lin, Jeffrey Kirschenbaum, Joe Roth, Clayton Townsend, Samantha Vincent Director of photography: Stephen F. Windon Production designer: Jan Roelfs Costume designer: Sanja Milkovic Hays Editors: Dylan Highsmith, Kelly Matsumoto, Greg D’Auria Composer: Brian Tyler Casting director: Rachel Tenner

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I recently published a book about movies I hated, and people have been asking me which reviews are harder to write--those about great movies, or those about terrible ones. The answer is neither. The most unreviewable movies are those belonging to the spoof genre--movies like " Airplane! " and " The Naked Gun " and all the countless spin-offs and retreads of the same basic idea.

"Scary Movie" is a film in that tradition: A raucous, satirical attack on slasher movies, teenage horror movies and " The Matrix ." I saw the movie, I laughed, I took notes, and now I am at a loss to write the review. All of the usual critical categories and strategies collapse in the face of a film like this.

Shall I discuss the plot? There is none, really--only a flimsy clothesline to link some of the gags. The characters? They are all types or targets, not people. The dialogue? You can't review the dialogue in the original movies (like " I Know What You Did Last Summer ") because it is mindlessly functional, serving only to advance the plot. How can you discuss the satire, except to observe it is more mindless? (Some of the dialogue, indeed, seems lifted bodily from the earlier films and rotated slightly in the direction of satire.) Faced with a dilemma like this, the experienced critic falls back on a reliable ploy. He gives away some of the best jokes and punch lines. He's like a buddy who has just walked out of a movie and tells you the funny stuff before you walk in.

I am tempted. I fight the impulse to tell you that when a character is asked for the name of a favorite scary movie, the answer is " Kazaam ." That some of the scenes take place at B. A. Corpse High School. That the teenagers in the movie are played mostly by actors in their late 20s and 30s--and that the movie comments on this. That the movie's virgin has a certificate to prove it. That the invaluable Carmen Electra plays a character not coincidentally named Drew.

The movie takes a shotgun approach to horror and slasher movies, but if it has a single target, that would be Kevin Williamson , screenwriter of " Scream " and co-inventor of the self-aware slasher subgenre. There is a sense in which "Scary Movie" is doing the same sort of self-referential humor as "Scream," since it is not only directed by Keenen Ivory Wayans , co-written by Shawn and Marlon Wayans (among others), and starring several Wayanses, but makes fun of various Wayans trademarks, especially the obligatory homophobic jokes. (There's a scene involving a closeted jock who can make love to his girlfriend only when she's wearing football shoulderpads.) The movie also features the wild exaggeration of stereotypical African-American behavior, which is another Wayans specialty. Consider the scene where Regina Hall plays a black woman at " Shakespeare in Love ," who shouts "That ain't no man!" when Gwyneth Paltrow is on the screen, videotapes the movie from her seat and carries on a cell phone conversation. Funny, though; now that I've written about it, I realize this is not intended to be a satire of African-American behavior, but an attack on the behavior of countless moviegoers, and Wayans has simply used Regina Hall as an example of non-traditional casting. Or maybe not.

The bottom line in reviewing a movie like this is, does it work? Is it funny? Yes, it is. Not funny with the shocking impact of "Airplane!," which had the advantage of breaking new ground. But also not a tired wheeze like some of the lesser and later Leslie Nielsen films. To get your money's worth, you need to be familiar with the various teenage horror franchises, and if you are, "Scary Movie" delivers the goods.

Note: The original title of "Scary Movie" was "Scream If You Know What I Did Last Halloween." The original title of "Scream" was "Scary Movie." Still available: "I Still Know What You Did the Summer Before Last."

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Scary Movie (2000)

Rated R For Strong Crude Sexual Humor, Language, Drug Use and Violence

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