Be honest with yourself. You don't watch these type of movies for the story, you watch them for the laughs and it delivers just that. There is nothing to learn here, this movie has no depth what so ever but it doesn't need it. I can safely say that this is one of the most braindead movies I have ever seen in my 35 year long life and I enjoyed every second of it. Don't take it too seriously and you will have a good time.

The same director from Scary Movie 3 does the same things he did before: jokes about kids being beaten, jokes about the president, jokes about aliens, sharing Cindy protagonism with a male, making some scene hysterical (In 3 Brenda's funeral. Here in the "Oprah" interview) Carmen Electra, Anna Faris and Regina Hall are great in this though

There’s an interesting point every parody franchise eventually reaches: sooner or later, it starts running the risk of becoming exactly what it’s making fun of. The first movie usually feels like an energetic reaction to tired formulas. The second exaggerates the same tricks. The third either finds a new balance or partially reinvents itself. And the fourth often enters a kind of autopilot zone, repeating familiar mechanisms while trying to convince audiences there’s still freshness left in the formula. With that in mind, “Scary Movie 4” lives right on that edge. At the same time that it shows very clear signs of creative exhaustion, it also manages to preserve part of the chaotic energy and nonsense spirit that made the franchise work so well at its best. The result is an uneven, over-the-top, narratively insane movie that’s still funny enough to stop the whole experience from collapsing completely. Unlike the exhausting mess that was “Scary Movie 2,” this one at least feels like somebody actually tried to build a minimally coherent narrative around the jokes. David Zucker still understands something essential about this kind of comedy: speed matters just as much as the quality of any individual gag. A lot of the time, “Scary Movie 4” survives simply because it never stays stuck on a failed joke for too long. The movie moves rapidly between references, physical accidents, visual absurdities, and dumb dialogue, creating a nonstop comedic flow that compensates for part of its weaknesses. The combination of “War of the Worlds,” “The Grudge,” “Saw,” and “The Village” might be the craziest mix the franchise had attempted up to that point, but it’s also one of the most strangely fascinating. There’s something genuinely entertaining about the way the screenplay stitches together completely incompatible elements into the same story, almost like the film is improvising its own rules as it goes along. Instead of simply recreating famous scenes, the movie often reorganizes situations and characters within its own absurd internal logic, creating a narrative that feels more fluid than the second film and even more unpredictable than the third. A huge reason why this works is because the cast fully understands the franchise’s tone by now. Anna Faris remains the central force of this nonsense universe because there’s something very specific about the way she plays Cindy Campbell: an incredible combination of complete innocence, perfect physical timing, and total commitment to absurdity. Faris understands that the comedy here depends on treating completely ridiculous situations with genuine sincerity, and even when the script weakens, she keeps the movie alive. Regina Hall is still fantastic as Brenda, especially because her energy feels like it belongs to an entirely different movie from everyone else around her. Hall turns every scene into an explosion of verbal chaos and physical exaggeration. Some of the funniest moments in the film come directly from the cartoonish freedom she brings to the character. And while some supporting characters are clearly underused, the movie still finds room for funny appearances, especially from Leslie Nielsen, whose presence continues to feel like a living connection to the classic parody style Zucker helped popularize. Of course, the movie is far from consistent. The humor swings wildly, and certain sequences rely way too heavily on cheap shock value or lazy references. Some jokes involving sexuality and nudity cross into uncomfortable territory, not because they’re offensive by themselves, but because they simply don’t have enough comedic construction behind them to justify the exaggeration. There’s also an occasional feeling that some scenes were improvised around a single joke idea without much refinement afterward. Even so, even in its weakest moments, “Scary Movie 4” rarely reaches the same level of creative exhaustion as the second movie. There’s a livelier energy here, a stronger understanding of pacing, and a greater willingness to turn the movie’s own narrative insanity into part of the joke. Another interesting aspect is how completely the film embraces its identity as a chaotic 2000s pop culture product. Unlike earlier parodies that often focused on more specific targets, “Scary Movie 4” works like a giant pop culture blender: literally anything can become a joke, whether it belongs to horror or not. That lack of restraint creates a very uneven experience, but also a strangely entertaining one because of how unpredictable it becomes. You never really know what bizarre reference is going to appear in the next scene. Sometimes that results in genuinely hilarious moments, other times it produces forgettable sketches. But the movie understands that its strength isn’t sophistication. Its strength is the speed with which it turns cultural recognition into comedic chaos. What probably stops “Scary Movie 4” from becoming something truly memorable is the growing sense of structural repetition. Even while functioning better in several areas, the film already shows obvious signs that the formula is wearing out. The absurdity no longer carries the same freshness the first movie had, and a lot of the humor depends too heavily on the audience recognizing very specific cultural trends from that era. Still, Zucker directs everything with enough competence to keep the experience light and entertaining. The film knows it’s stupid, never tries to sound smarter than it actually is, and understands that its main goal is simply to keep audiences laughing, or at least struggling to keep up with the insane pace of references. In the end, “Scary Movie 4” feels like a franchise slowly starting to realize its own limits, but still far away from completely falling apart. The plot is ridiculous, the references are excessive, and the humor constantly swings between inspired and completely insane. Even so, there’s still fun running through the movie, especially thanks to the returning cast and Zucker’s ability to keep the narrative constantly moving. It doesn’t have the revolutionary freshness of the original or the more consistent comedic efficiency of the third movie, but it’s also nowhere near the lazy disaster that was “Scary Movie 2.” It’s an imperfect, chaotic, uneven sequel, but still funny enough to justify its place within the franchise.

"Scary Movie 4" was the last installment in the series I've seen so far (I even saw it in the theater). And there are certainly good reasons why I didn't watch the fifth one. The series just kind of ran out of steam here. The team from the third film is back, and there are actually a few laughs to be had. But the density of gags is simply too low to be particularly entertaining. And unlike its predecessors, there wasn’t a single joke here that I could remember, which doesn’t exactly speak well for the film. Accordingly, you can certainly skip this fourth film without hesitation.

the saw sections were very good the rest was ahh