After years of eerie silence, Scary Movie 7 crash-lands back into theaters like a UFO with no sense of direction — loud, ridiculous, and gloriously self-aware. It doesn’t tiptoe into horror; it belly-flops into it, laughing all the way down.

The parody franchise that defined early-2000s chaos returns in 2026 with renewed lunacy, fusing horror, sci-fi, and slapstick into a spectacle so absurd it somehow feels nostalgic. Director Damien Corben (in his gleefully unhinged debut) resurrects the anarchic spirit of the originals, proving that stupidity, when executed with conviction, can be its own form of genius.

Anna Faris is back, and she’s still the reigning queen of cinematic cluelessness. Her timing is impeccable — every shriek, stumble, and confused glance feels like a masterclass in comedic panic. Watching her argue with a possessed Roomba or perform an exorcism using TikTok filters is the kind of delirious nonsense only Scary Movie could deliver.

Marlon Wayans returns with his signature kinetic energy, balancing paranoia with pure charm. His chemistry with Faris is lightning in a bottle — two survivors of a franchise that refuses to die, still mocking every trend Hollywood throws their way. Together, they make idiocy feel like art.

The plot — if you can call it that — is a fever dream stitched together from pop culture’s recent nightmares. Aliens abduct toddlers for “intergalactic daycare,” ghosts hire lawyers for emotional distress, and smart homes develop gossip networks that could destroy friendships faster than demons. It’s not coherent, but it’s consistent — consistently insane.

The film’s greatest strength lies in its awareness. It knows exactly what it is and refuses to pretend otherwise. Every meta-joke hits with gleeful precision. Characters argue about being in a reboot, complain about horror clichés, and even reference the audience — one ghost moans, “This plot’s so dead even I wouldn’t haunt it.”

Parodies of Nope, A Quiet Place, The Conjuring, and even M3GAN are ruthlessly funny. The “silent horror” spoof alone — featuring Faris trying to survive an alien invasion while holding in a sneeze — might be one of the funniest sequences the franchise has ever produced.

The visual gags are as over-the-top as ever. UFOs shaped like emojis, possessed Alexa devices giving therapy sessions, and a haunted baby monitor that keeps asking philosophical questions. The chaos is relentless, but so is the laughter.

And yet, beneath the chaos, Scary Movie 7 has a strange warmth. It’s a reminder of a time when parody was fearless — when no joke was too dumb, no target too sacred. The humor may be crass, the editing manic, but there’s a sincerity to its stupidity. It’s made by people who clearly love horror enough to roast it alive.

As the finale erupts in flames — a suburban apocalypse lit by disco lasers and demonic toddlers — Anna Faris delivers the perfect sendoff: “This is why I don’t babysit anymore.” It’s both punchline and prophecy, the last laugh of a survivor who’s seen too much.

4.3/5 — “A delirious, self-aware riot that proves dumb can still be brilliant.”
Scary Movie 7 (2026) doesn’t reinvent comedy — it just reminds us how much fun it is when horror stops trying to be serious. It’s a ghost story told by clowns, a sci-fi satire in a straightjacket, and above all, a love letter to every scream that ever deserved a laugh.