The Wayans brothers have returned to the franchise that defined the early 2000s, but the joke is starting to wear thin. Twenty-six years after the original Scary Movie skewered the Scream phenomenon, the sixth installment arrives as a "rebootiquel" that is more interested in its own legacy than in landing a punchline. It is a frantic, top-heavy party that has become so meta it is simply meh.

There is a fundamental problem here. The film is jammed with references, yet it lacks the sharp, observational wit that made the original entries work. It feels like a checklist of horror tropes rather than a genuine satire. The energy is there, but the execution is hollow.

The Few Gags That Actually Land

When the film stops trying to be clever, it occasionally finds a spark. There is a standout moment where Ray Wilkins (Shawn Wayans) stands before a church congregation to deny his sexuality, only to spiral into an absurdly specific list of activities he definitely isn't doing. It is the kind of high-wire, character-driven absurdity that the franchise used to master.

Another highlight involves a trio of characters—Jack (Cameron Scott Roberts), Sara (Olivia Rose Keegan), and Tuesday (Savannah Lee Nassif)—attempting to gain entry to a party by playing a banjo version of The Jeffersons theme song. It is weird. It is specific. It works.

Then there is the subway scene. Sydney Park plays a student so obsessed with political correctness that when she is attacked by Ghostface, she corrects a bystander’s pronouns mid-stabbing. The bystander, understandably annoyed, joins in on the violence. It is a rare moment where the film successfully mocks the modern cultural landscape without feeling like it is reading from a script of talking points.

Why the Satire Feels Exhausted

Most of the jokes, however, fall flat. The film attempts to spoof Get Out by having Shorty (Marlon Wayans) sink into a chair, but it quickly devolves into an anime-inspired musical number about marijuana that goes nowhere. It sounds funny on paper. On screen, it just sits there.

Part of the issue is the film’s obsession with its own history. It is so busy referencing the Scream franchise and its own past installments that it ignores the vast landscape of modern horror. We get a brief, confusing nod to The Substance that pivots into a strange joke about the Epstein files, but the film ignores Midsommar, The Conjuring, or Weapons.

It is a missed opportunity. The horror genre has evolved significantly since Scary Movie 5 hit theaters 13 years ago. This film ignores that evolution in favor of safe, legacy-based gags.

The Problem With Being Too Meta

Scary Movie is a "rebootiquel" that mocks itself for being a "rebootiquel." It is a hall of mirrors. While the Naked Gun and Airplane! school of comedy thrived on inflating clichés into glorious outsize goofs, this film feels like it is merely asserting that it is funny. It is relentless. It is loud. It is rarely delightful.

Key Takeaways

  • The film relies heavily on meta-commentary about the franchise itself, which often feels more exhausting than clever.
  • Specific, character-driven gags—like the church confession scene—are the film's strongest moments.
  • The movie fails to capitalize on the last decade of horror cinema, choosing instead to rehash tired tropes.

What Happens Next

For the studio, the stakes are clear. The franchise is currently positioned as a family legacy play, but the box office returns for this opening weekend will determine if there is a seventh film in the works. If the audience reaction mirrors the critical exhaustion, the Wayans family may find that the "rebootiquel" window has officially slammed shut. The next quarterly earnings call for the studio will reveal if this experiment was worth the investment or if the brand needs a permanent retirement.