Listonixio Fresh and Exciting

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Salubfoto It's an amazing and heartbreaking story.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

marieltrokan The charisma of being terrorized is the non-charisma of being safeNon-charisma is non-inspirationNon-inspiration is non-leadershipNon-leadership is equalityBeing safe is terrorThe equality of terror is the terror of equalityThe terror of equality is the terror of symmetryThe terror of symmetry is the symmetry of terrorTerror is destructionSymmetry is copied imageThe copied image of destruction is the original non-image of peaceNon-image is non-observationOriginal is non-reactionOriginal is non-observationNon-observation non-observation is observationThe peace of observation is the terror of non-observationThe terror of non-observation is the non-observation of terrorThe non-observation of terror is the non-observation of observationThe non-observation of observation is the non-invasion of observationThe non-invasion of observation is the non-scrutiny of scrutinyThe non-scrutiny of scrutiny is the relaxation of criticismThe relaxation of criticism is the criticism of relaxationRelaxation is suspensionThe criticism of suspension is the suspension of criticismNothing is criticised so that criticism is given a breakCriticism is nothing so that a break is freed from criticismRecognition betrays itself, so that the inability to recognise gets recognition

Leofwine_draca I borrowed I KNOW WHAT YOU DID LAST SUMMER from a friend. I had been tempted to actually buy it when I saw it in the shops but I'm so glad I waited now, as it turned out to be one of the most boring hour-and-a-half's that I have ever sat through. Maybe the film wasn't bad in terms of production, but it's certainly a below average slasher film, lacking none of the extravagance or finesse of the '80s slashers (hardly any blood is shed, the murders are all quick and cut away from the gore). The film could easily have been cut down half an hour, which would not have harmed it - in fact it might have been better.The cast is full of American teenagers, a typical staple of the slasher film, but none of the actors and actresses are up to scratch. Jennifer Love Hewitt is more adept at showing her cleavage than emoting, while Sarah Michelle Gellar (star of BUFFY THE VAMPIRE SLAYER) is an annoyingly whiny character. Ryan Phillipe is okay as the drunkard Billy, while the character of Ray remains largely undeveloped (and it's difficult to fathom his sudden role as an action hero at the finale). Anne Heche also turns up, in a thankfully small role.The murderer is a generic villain, and not in the least bit scary. Candyman used a hook for murders years before this, so where's the originality? There is none. The music is good in the stalking sequences but too full of hip pop songs (sadly commonplace these days). A lot of the film is pretty by-the-numbers stuff, which looks nice but lacks substance. The chase scenes are the only worthwhile parts of the film, and even these aren't too exciting. I KNOW WHAT YOU DID LAST SUMMER is an example of the modern horror film, clichéd, derivative, and unfortunately not very exciting at all. A botched attempt, which proved that Kevin Williamson really was a one shot wonder.

Wuchak Released in 1997, "I Know What You Did Last Summer" takes place in coastal North Carolina where a group of just-graduated teens experience a tragic event and compound it by foolishly reacting. They swear to carry the secret to their graves, but the next summer it becomes clear that someone knows their secret and murders start piling up. The teens are played by Sarah Michelle Gellar, Jennifer Love Hewitt, Ryan Phillippe and Freddie Prinze Jr. Also on hand are Johnny Galecki, Anne Heche and Muse Watson.This movie is full of slasher clichés, like the killer who's always in the same garb (this time a fisherman's slicker outfit), the slow-methodical walking of the killer (never running) and the undead dead. There are also two blatant "Yeah, right" scenes (noted below). Thankfully, it makes up for it by the stellar coastal locations (strangely shot on BOTH East and West coasts), a quality cast, some effective sequences and the potent moral on haunting guilt that slowly kills ya. The immediate aftermath of the opening accident is particularly well done.The film runs 99 minutes and shot in Southport, North Carolina, and Jenner, California, and nearby regions of both coasts.GRADE: B or B- (6.5/10 Stars) ***SPOILER ALERT*** (DON'T READ FURTHER IF YOU HAVEN'T SEEN THE FILM) Here are the two eye-rolling scenes: 1. The sequence where Max's corpse is found in the trunk with the crabs. It couldn't have been an illusion since Helen didn't yet know Max was dead, so it must've really happened. If so, how would the slicker-killer get the trunk cleaned-up so quickly with no one seeing him in a neighborhood in broad daylight? Also, how did he even get into trunk? Did he have his own personal key? The sequence is just too far-fetched.2. After Barry is murdered by the killer at the pageant how does he know that the cop and Helen would be driving down the alley by-pass an hour or so later? (I realize the street was blocked off and he might've been the one who set it up, but how did he know this would be the precise route taken by the cop and Helen? And how would he even know Helen would be riding with the cop? It's not like she wouldn't have other friends & family in town with whom she could ride. Anyway, wouldn't people living in the downtown area or other passersby notice a man in full-slicker garb working on his truck? Sequences like these take mature viewers right out of the story, which explains Roger Ebert's response: "After the screening was over and the lights went up, I observed a couple of my colleagues in deep and earnest conversation, trying to resolve twists in the plot. They were applying more thought to the movie than the makers did."

Spikeopath Kevin Williamson, hot off of the success of his screenplay for Wes Craven's Scream, here adapted the Lois Duncan novel with mixed results.A bunch of pretty teenagers in a coastal fishing town run over a man in the road and try to cover it up. Not a wise move at the best of times, even more so now as the victim, a hook wielding fisherman, is coming to get them.And that's pretty much it. Williamson adds some humour into the play, while director Jim Gillespie plays his shock tactics well and keeps the pretty young cast annoying enough for us to want to see the fisherman guy enact revenge.It sadly gets away from itself in the last quarter once the stalker is revealed, and in truth there's very little imagination gone into the whole pic. But it's a decent night in with beer and popcorn for those after a short sharp shock type horror. 6/10