"It's the millennium, motives are incidental."

Thoroughly guts the slasher genre from taint to gullet by making every character a bundle of tropes given explicit hypermediated awareness that they're in a slasher film, with the dichotomy between real life/fictional violence gleefully pissed on with pre-Columbine-pearl-clutching reckless abandon. No surprise that this is the end of the line of the slasher, there was nowhere to go but Blair Witch realism and minimalism after this. Even ignoring the intelligent metatextual elements that aged like fine wine, it's a crispy engaging horror film. It's the postmodern icing that's gone on to influence a particular strain of hyper-aware horror in the years to come. Hell, Billy and Stu are just a few examples of fourth-wall-breaking away from being the preppy bros from Funny Games.