Movies

The sharpest hook is nostalgia in a silly reboot of ‘I Know What You Did Last Summer’

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In essence, it feels like 1997 is repeating itself, doesn’t it? That’s what Freddie Prinze Jr. tells Jennifer Love Hewitt as they reunite in a fun revival of the B-movie slasher series “I Know What You Did Last Summer.” In the original from the ’90s, based on Lois Duncan’s young adult novel, they played Ray and Julie, who survived a car accident with a stranger, covered it up, and then had to escape a hook-wielding murderer over the Fourth of July weekend. After surviving that ordeal and another adventure in the Bahamas, they’re back for this installment to guide a new group of troublemakers. A mysterious figure in a raincoat makes a valid point when they see a message written in blood: You can never escape your past.

The five youths, Ava (Chase Sui Wonders), her former partner Milo (Jonah Hauer-King), the quirky Danica (Madelyn Cline) with her wealthy finacee Teddy (Tyriq Withers), and Stevie (Sarah Pidgeon), fresh from rehab, are the ones making a wise choice as they evade an impending situation. They’re slightly older than their predecessors during their past ordeal, all in their early 20s, embarking on their adult lives, and unfortunately, they repeat the same fatal mistake on the same evening, along the same coastal road in Southport, North Carolina. Danica sighs, “Reaper’s Curve deserves its name for a reason.

Jennifer Kaytin Robinson’s refreshed take on horror has some advantages, such as low initial anticipation. Collaborating with Sam Lansky, a former journalist, this nostalgic horror flick aims to bring laughter to the mall, even poking fun at Nicole Kidman’s famous AMC commercial. As the creator of MTV’s “Sweet/Vicious” and a contributor to other light-hearted entertainments, Robinson demonstrates potential as a popcorn humorist. She skillfully maintains a tone that is neither overly serious nor excessively sarcastic. This way, you don’t feel too guilty indulging in her entertaining but ultimately empty calories.

Robinson appears to hold the initial film in high regard, almost as if she was adapting Proust. For some who were of a certain age and spent their sleepovers watching it on VHS, this movie is undeniably their ‘madeleine’. The script cleverly incorporates numerous references: eerie mannequins concealed under plastic covers, over-the-top parade floats with colossal fiberglass clams, Hewitt shouting her iconic line: “What are you waiting for?” (A notable cameo awaits, best experienced unspoiled.) The humor feels a bit awkward when it targets 21st century sensibilities – like Hewitt sipping tea from a mug that reads “tears of the patriarchy.

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This summer appears packed with major blockbusters from Hollywood, clever independent films, and just the right dose of mindless entertainment – all essential ingredients for any satisfying summer movie experience.

In more contemporary terms, this group was born approximately during the ’90s tragedy and are unaware of the impending string of murders. Callow Teddy even finds humor in the name on one of the deceased children’s tombstones: “Barry Cox,” he chuckles derisively. Powerful real estate developers, such as Teddy’s father (Billy Campbell), have also concealed information about past incidents. The real estate sector and local law enforcement have heavily invested in transforming this working-class fishing village into an upscale beach resort. Before bodies start appearing on the pier like sharks, it seems that the writers must have dusted off their VHS tapes of “Jaws.

Kind-hearted and practical Ava serves as the ethical core of the movie, showing disapproval towards herself, her friends, and Southport’s leaders for their foolishness. Chase Sui Wonders has shown great talent in all her roles I’ve seen so far – I eagerly await what she does next – although here, she primarily conveys her bad mood through altering her outfits from sickly green to black. Ava’s former partner Milo appears to be a role that could have had more impact than it ultimately did. He is only known to work in politics and there is no chemistry between him and Ava.

However, we find ourselves growing fond of Danica, Ava’s BFF, who seemingly strolls into dangerous situations wearing delicate silver sandals. She appears as fragile as a cupcake in this genre, seemingly disposable, yet Madelyn Cline’s portrayal of her is exceptional. This bohemian character seems superficial, constantly worrying about stress-induced hair loss and seeking advice from her professional empath. (It’s worth noting that Danica also has a life coach, an energy healer, and a psychic.) Despite her soft features and tearful, whispery baby voice, it’s surprising how much we become attached to her. Thankfully, the creator of the show, Robinson, appears to have affection for his characters as well, using their screen time effectively rather than using them as mere grindhouse fodder, a type of violent vaudeville where one eagerly awaits the climax to rescue someone from distress.

The movie’s most effective aspect is its portrayal of making us empathize (and chuckle) with our antagonists. With only Milo being an exception, most of them are intriguing characters, such as Tyler (played by Gabbriette Bechtel in a captivating performance), a true crime podcaster who labels Southport’s cover-up as “gentrifi-slay-tion.” When this morbid fan leads Ava to a historical crime scene and begins to unfasten her top, it becomes clear that she finds the violence arousing. Another character, portrayed by Joshua Orpin, even attempts to bribe the murderer with cryptocurrency.

To put it bluntly, none of these characters, either old or new, would’ve become rocket engineers in a different life. The series, created by Kevin Williamson, the mind behind the intelligent horror “Scream” and heartfelt drama “Dawson’s Creek,” struggled to blend the strengths of both worlds. Robinson seems to relish her role as the executioner. Each death is carefully constructed for tension; she’s a master at prolonging the suspense. A bulky teen, who has been working out to protect himself, lets out a triumphant yell when it’s his turn to defend his life.

The quality of the scoring, cinematography, and editing is quite good, not overpowering the humorous dialogue which stands out as the highlight. A notable design element is the ominous sound of the killer’s boots crunching when they approach for the final blow. However, the storyline struggles to keep up, with characters frequently disappearing for long periods, only to reappear in unexpected locations like a steam room where they get threatened.

Robinson seems to enjoy playing tricks on us rather than scaring us with something truly sinister. She’s under a lot of pressure to add a twist, so some scenes feel like a magician revealing the wrong card to divert attention from the real one hidden up their sleeve. The big reveal doesn’t quite convince you. But complaining about it would be as old-fashioned as debating that the movie is trying to evoke nostalgia for an era that wasn’t personally experienced by many viewers. This revamped film isn’t a treasure, but I think most of its young audience will find the ’90s style cheesy fun.

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2025-07-18 13:33

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