I KNOW WHAT YOU DID LAST SUMMER (2025)

This film certainly knows all about what you did last summer, but unfortunately it's a derivative requel that isn't able to capitalize on the few good moments of its predecessor. This return to Southport really made us quite frustrated, and we even give it the hard R - "regrettable" - in this discussion about where it all went wrong. We're also drinking Brooklyn Brewing's Fonio Rising Pale Ale!

Approximate timeline

0:00-9:00 Intro

9:00-16:00 Beer talk

16:00-end I Know What You Did Last Summer

Coming soon: Red Hot '90s Action Summer: Reloaded!

Episode Transcript

(00:02):
What are you waiting for? I don't even know who you are.

(00:44):
Hey guys, welcome back to the Blood and Black Rum Podcast.
Ryan from coldsplitation.com joining with the Co host Martin.
How's it going? Doing all right.
Are we though? I don't know.
Are we though? I don't know.
I guess we'll, I guess we'll talk about that.
I I do have one thing to tell you, though.
I recall what happened to you the previous winter.

(01:08):
I do too. Do you know what I'm talking
about? I shit my pants.
No, but I just wanted to get youto admit something on on the
podcast. That.
You might not want to. No, no, I mean, yes.
So I we were talking about this kind of actually kind of jumping

(01:28):
away from what I was just talking about there.
We were talking about this when we were at the movie theater in
that it seems like a lot of Times Now there's like this lead
up to movies where you're like, you know, the movies in
progress, it's coming out and you're like, oh, that I got that
on my radar. Really thinking about that
movie, like, you know, interested in seeing it at some

(01:49):
point. And then all of a sudden it's
just there. It's just in theaters and you're
like, what the where did that come from?
It's like fast enough, like the Fast and Furious sequel just
comes out of nowhere. And that's been happening with
me of late to the point where I was like, wow, I can't believe,
you know, Superman's in theaters.
I can't believe Addington's in theaters already.

(02:11):
I didn't realize that Fantastic Four was going to be already in
theaters. And it just kind of sneaks up on
you now. And I don't know if that's
because I just don't watch a lotof TV anymore, so I don't see
like, trailers, like, being bombarded at me in commercials
all the time or what. But for whatever reason, all
these movies are really sneakingup on me now.
And I think that kind of leads me into the movie that we're

(02:34):
covering today, which is anotherone of those ones that was on
the horizon. And I was like, I know it's
coming. I know like it's been worked on
and posters and trailers have been released.
But I had no real understanding of the actual release date of
the film. And then all of a sudden, we
went to the movies to see Superman, and there it was on
the, you know, on the marquee. And I was like, oh, I guess it's

(02:58):
already in theaters. I thought it was more like an
August release, but apparently here we are.
So all that to say, we're covering.
I know what you did last summer,the 2025 requel something,
whatever you want to, however you want to call it requel or re

(03:20):
imagining remakeable miss. It is really a requel in the
sense that it's kind of a bit literally revitalizing the same
idea, but also it takes place inthe universe that recognizes
that the original movie actuallytook place.
So I know in that scenario it's I think probably the definition
of a recoil, would you say? Yeah, I'd.

(03:43):
Agree, you know, and basically taking cues from Scream, of
course, which had its own revitalization and recoil that
we've covered on the show since the Scream 5 came out.
How how, how well versed are youand how, how much are you

(04:04):
nostalgic for the original? I know what she did last summer.
I know we covered it. We did we've we've done it on
the show. We've seen it a lot of times
because they used to play it on TVA billion times, so I am
familiar with it. However, I can't say that much
is like like nothing about the original like I would say is

(04:28):
like noteworthy to ever like keep forever lodged lodged in my
mind. And yeah, so in the same thing
with the sequel. I've seen the sequel a couple of
times. I don't remember fucking all
about it. So yeah, it's.
I mean, I feel like so we did I,I know she's last summer, way

(04:49):
back probably. 90 slash a month.Yeah, way early on in the
podcast for 90 slasher month andlet's.
Check it out, By the way, one ofour greatest openings for a
themed month. I think even in that episode we
were pretty critical of I Know What You Did Last Summer as a 90

(05:11):
slasher film, because again, it it it did come out in the same
time period of trying to basically take screams formula
and then, you know, kind of justshuffle it around a little bit.
But it was pretty reminiscent ofscream in a lot of ways.

(05:32):
And we were we were pretty critical and not really all that
nostalgic, I want to say about the, you know, the basis for
that film. And not only that, it also is
kind of interesting that it does, you know, I know what you
did this summer was a book and I've never read the book itself,
but I am pretty sure that the Lois Duncan book has really very

(05:55):
little to do with the actual movie.
It didn't really, I think they just really wanted to take the
name and that was pretty much it.
Like, 'cause the name is catchy,it hooks you right away.
It's it's just something that, you know, stands out immediately
about the film. And I feel like when we think
back about that movie, The 1997 slasher, there's really not much

(06:17):
else that sticks out about it except the title.
It has Jennifer Love Hewitt and was a really like big jumping
off point for Jennifer Love Hewitt.
It was another film written by Kevin Williamson again, which
was. Launched or I was to say
launched or right into the 13th going on.
Yep. And and again, Kevin, at that

(06:39):
time, Kevin Williamson was, you know, cut fresh off of Scream.
And basically companies were throwing themselves at Kevin
Williamson to write down anotherrelease that would do as well as
Scream. And so that's kind of the
impetus for I know what you did last summer.
And then the one other thing that you probably would know
about, I know what you did last summer.

(07:00):
And possibly people who weren't even really, like big horror
fans would probably know this isthey had a guy with a fish hook
and a rain raincoat or rain slicker, however you like to
phrase it in your vernacular. Other than that, though, to
think back on the movie, I really don't know that there was
any other recognizable element to the movie that would stand

(07:24):
out and be like, that's I know what you did last summer.
Maybe Sarah Michelle Gellar. Because again.
Right. Yeah.
Ryan Phillippe's hair, which waslike that slicked back and also
wearing like, wife beater most of the time.
Blonde tips. Yeah, Yeah.
And and then, and I think maybe Sarah Michelle Gellar would be a

(07:44):
big stand out in that she was inthe movie and died in the movie.
And because again, this was another time period where she
was showing up in lots of slasher films.
She was in Scream 2 as well, youknow, And again, getting both
Ryan Philippe and Sarah MichelleGellar together for Cruel
Intentions as well, which we've also done on the show.

(08:07):
Great. Movie.
Great review, check it out. Yeah, that one, I want to say
maybe two years ago now, but yeah, in terms of requels, how,
how willing are you to accept all of these new requels coming
out? Are you, do they make you
excited? Are you happy that they're

(08:30):
banking on the nostalgia and, and, and at least in the case
that we'll talk about it in thismovie, a nostalgia that probably
most of its viewing base does not have, like it doesn't, you
know, doesn't have the working knowledge of it.
How do you feel about it? Well, one, unlike you, I'm not
that sub. You know, I move like well, like

(08:52):
you, I should say movies do sneak up and bite me in the ass
because I don't have TVI have like a couple of you know,
streaming services and I have a browser on my computer that has
ad blah. So I don't like, you know, get
bombarded with the you know, most commercials and stuff.
So wouldn't like you mentioned like half the time like, oh,

(09:12):
this movies coming out, it's like, oh wow, you know, half the
stuff I see is like on Facebook and half the time it's not even
like a lot of like things. You're even being shown on
Facebook because it's a shit hole.
But Speaking of that, I, I am not like thrilled at all of the

(09:33):
idea of a remake. If I know what you did last
summer, I can see why because it's like 30 years now what, you
know, 28. So they should have just waited
another two years to release it to 30th anniversary, you know,
at least give it something to, you know, have a reason for.
But yeah, I mean, horrors and slashers, whether they're worth

(09:58):
a damn or not, and whether the original was worth a damn or
not, they always get remix because it's they're just really
easy fodder to, you know, tweak and like, oh, let's make it
like, you know, more modern for today's audiences.
Most of the time, they're just as schlocky and bullshit as the

(10:18):
originals. But now that we're old men, it
does enter into kind of like, why bother our territory?
Because I was definitely on board with like, like, why are
we even doing this? And when you watch the movie,
it's even more. The film is aggressively, the
film aggressively hates you. And if you're a millennial or

(10:43):
Gen. X, it's just, you know, you
know, pissing on you and saying eat this shit.
You're, it's actively saying you're too old.
You you've reached an an age where we do not want you to be
able to have this accessibly anymore.

(11:05):
I don't know. We'll talk about that probably
as we get further into the movie, but.
But like you said, like you werejoking.
You're like, oh, what's the nextthing you're going to do?
Probably like fucking urban legend.
And it's like, again, a film that was like, you know, had a
niche popularity at the time it came out because, you know, the
Scream slasher revival and people who you know, like us

(11:26):
that when we had done that film too for a 90 slasher month.
If you've seen the movie before,you know it.
But it's there's like few peopleout there that would be like,
this is my favorite movie and nothing about it like really
sticks out. Like, again, that's a movie I
saw a billion times on TV as a kid.
Do you like, you know, I was like, do I remember it?

(11:48):
Not really. Tara Reid's in it.
They say slickers and galoshes, you know, But so, yeah, I mean,
I wasn't that chance to see thismovie.
But we have a policy on the show, basically, like, once
you're dug into a franchise, youkind of have to start going, you

(12:10):
know, keeping up with it. So absolutely you have to,
otherwise FOMO. That's right.
Yeah. And I would feel weird about not
seeing I Know What You Did Last Summer as a slasher film that
has recently come out. Because again, you know, we
we've tried to cover slashers for the most part throughout.
And not only just, you know, themore the ones that we've done

(12:32):
previously that have been remade, but also, you know, some
of the more recent ones that have come out like thanks
killing, not thanks killing Thanksgiving.
I'm sorry, thanks killing. We did.
But that was a long time ago as a killer Turkey Thanksgiving, I
mean, and hard eyes. So we try to, you know, kind of
keep up with some of those slashers.
But yeah, it would it just makessense to to also cover this one.

(12:56):
So all right, let's let's take abreak before we get into
anything more about the movie because I think we're itching to
talk about the movie, but we're skirting around it.
So talk about the beer that we have on the show today.
I'll let you go with it. You're the one that picked it
out. What'd you get?
Got us a there hasn't been really that much.

(13:19):
It's been too appealing to me oflate because it's been as we've
said for like 4 episodes straight.
How does balls out? Because we have, you know,
record heat wave from this country.
No one knows why some think it'smagic.
So other than like Miller High life, nothing's really been in,
you know, speaking to me the of late, but while traversing our

(13:43):
local, our local, you know, Pakishop while they're starting to
get in some Oktoberfest, which we love here on the podcast just
too damn hunt for. So while walking around, I found
a new release, at least for us, because I haven't seen it
before, from a brewery that we've had a couple of times on

(14:05):
here, Brooklyn Brewery, and it'stheir Phonio Rising Pale Ale.
And I was interested because one, yeah, I have nostalgia for
Brooklyn, as we've probably talked about before on the
podcast. It's a brewery kind of like
Saranac and Sam Adams, where it's kind of like a brewery,

(14:25):
that craft brewery for us that'slike got us into those original
craft beers. Like I could never not, you
know, talk pop, you know, positively about that.
You know, original West Coast IPA they had that was so damn
good. And also too, the other reason I
got it was even though pale alesaren't that great for the summer

(14:50):
with the, you know, the last five years with hazies being so
dominant, kind of nice to see like a pale ale, see how it is.
So that's why I went and grabbedit.
Awesome. What do you think?
I think it's good. I think it's a bog standard
craft pale ale. It's got to, you know, nice

(15:16):
smooth mouth feel. It has a nice, you know, pretty
bite to the beginning. Very, you know, like it has
Citra hops to it and I think Mosaic, so it's got, you know, a
nice hot bite to it, but it's, you know, thin mouth feel so it

(15:38):
goes down nice and smooth. You know, it's good.
It's just a good pale ale and like, excuse me as I'm having an
indigestion here and like Sloop and a lot of other breweries
that we have on here that are local, you know, it's Brooklyn's

(16:00):
got their niche. They are what they are.
They've been around for forever.You know, it's been a long time
since I've had a beer from them that's wowed me.
But again, what they make thoughis a solid product.
So like it. I recommend people who are
yearning to have a pale ale to try it.

(16:22):
If not, then they might want to stay away from it.
Yeah, I mean degree. I mean, I think this is a pretty
standard pale ale style, a good,good paleo, but also, you know,
very standard depending on how you feel about like, you know,
ancient African super grains. Your mileage may vary here, but

(16:46):
basically this beer is meant it's called phonio rising and
it's meant to be, I guess use the the ancient W African grain
phonio, which is, you know, I guess a very prominent West
African grain helps it like it is very resilient.
So it keeps coming back and it helps, you know, fund farmers.

(17:07):
And so they've worked with, withthe getting dysphonial grain in
to be kind of showcase that resilience and showcase like the
the Senegalese grain to, you know, I guess show how it can
impact your beers and, and make them a solid addition to your

(17:29):
line up. Now, again, I think this is one
of those types of beers where the, the idea of it is a much
more interesting than the actualexecution of it or, or what it
actually ends up tasting like tome.
You know, if you would just saidthis is Brooklyn standard pale
ale, I probably would not have batted an eye at it and said,

(17:52):
wait a second, there's an ancient grain in there.
It's one of those things where like, I don't think it really
comes out in the taste. You know, execution is fine
because it's just tastes like a pretty standard pale ale.
But I think the story of the beer is what's kind of sells the
sells this product more than anything.
And it it's probably another thing that's more interesting to

(18:15):
Brewers than it might be to an actual just beer drinker because
I think the end product doesn't really showcase anything
different than a regular Paleo. But the idea is cool.
I'm happy to support it. I'm happy to support Brooklyn,
which as you said, is a is a brewery that it really sits in
its own niche. It's, you know, it's been around

(18:38):
for a long time doing its thing and very happy to stick within
its, you know, specific cache ofproducts.
So, you know, I I like Brooklyn.They've never really there's not
a surprise. They're very consistent.
I think Voneo Rising is a good beer.
But again, yeah, I don't know that you really need to go out

(18:59):
of your way to try to find it because it's not like going to
be surprising or eye opening. It's it just does what says on
the tin pale ale, but very drinkable, very session.
So recommended if you find it, but not going to blow your mind,
I think. All right, let's dig in.

(19:20):
I Know What You Did Last Summer.Otherwise known as the Gen.
Z version of a slasher film written by someone who is not
Gen. Z.
She, you know, and directed by Jennifer Keaton Robinson.
Jennifer Keaton Robinson was born in 1988.
She's a year older than we are yet.
I Know What You Did Last Summer is has the ossification factor

(19:43):
up to a nine. I would say.
That's, I think one of the things and I'm starting to feel
this more and more. Am I just being a cantankerous
old person at this point? Because most modern movies are
really passing me by at this point.
I I guess I shouldn't say most, but I do feel like I am falling

(20:07):
out of the audience that's intended or recommended for a
lot of the films that are comingout these days.
Are we just getting to be the cantankerous?
I I believe sort of at the same time though, I mean, like all
these films have like some sort of cultural and like, you know,

(20:29):
pandering, right? The difference is, at least with
like when we saw hard Eyes, thatwas leaning into very hard into
Gen. Z tropes, but it was funny and
smart about it. Still in here?
Here they're not even leaning into anything.
It's just insufferable Gen. Z twat waffles.

(20:52):
Like, you know, it's just. Well, I mean I.
Think with with your middle parts and like, you know, but
also to like, you know, so it's it's it's a mixture of both.
Yes, we are getting old and you know, every time I see like, you
know, because I know now like the popular like lady thing to
do is wear baggy pants. I'm just thinking like 1990,

(21:15):
like 7 right there, like, you know, spoof.
That's what those are you're just wearing, you know?
Went right back to it yeah yeah it's could be I know and I don't
know. So that's that's the thing that
I always I always struggle with in these in in types of movies
like this now like am I just getting old and I'm just
cantankerous and it's not as badas I'm making it out to be but

(21:37):
it's something that I just don'ttolerate very well or is it
actually overdoing itself? And I, I, I think I know the
answer to this. I think in my in my opinion,
this movie is overdoing it to a large extent.
And I think we could talk about why that is as we go along.
But probably just to set the setthe story, the scene here is

(22:00):
that we're going back to Southport's 30 years almost 30
years later. It's 1997 or it's it's 28 years
after 1997. We're in Southport again.
We've got a new cast of characters.
These characters are. Very don't you guys started to
interrupt guys, don't you remember remarkable Southport,

(22:21):
NC, I know Southport isn't it just isn't it just like you're
walking through, you know, Camp Crystal Lake or.
You know, I do. I do think that is another
problem with the movie is that it, you know, again, it's
working off of the stored knowledge of in the lore of I

(22:42):
know what you did last summer from 1997.
But again, these things do not stand out to, you know, to
people, I think, unless you havereally good working intimate
knowledge of of the original. I know what you did last summer.
You'll probably catch on that like, oh, Southport, OK, I I get
it, they're going back to that. But it's no Woodsboro, right?

(23:05):
It's yeah. It's like, like I was leading up
to like, Oh yeah. Like it's like Woodsboro, you
know, but on the sea. It's Woodsboro on the sea.
Yeah, And, and I did, I, I saw somebody's comments about this
too that I thought was funny. People are like, ah, yes, the
nice coastal mountain range of North Carolina.

(23:29):
That's what you always think of when you think of North Carolina
is like a giant mountain range by the sea overlooking, you
know, not, not often that you think about that.
There's like this, this reads like a California person's view
of what North Carolina might look like instead of it just
being set in like a North in like a Californian town.

(23:52):
But anyway, so the whole idea ofthis movie is basically what if
we took another group of characters that's, you know, in
Southport and we basically gave them the same problem.
Well, I mean, not the same problem, but but but the, the

(24:13):
idea of a problem, right, that oh, we've been involved in some
sort of predicament and we don'twant to go to the police because
reasons, you know, So instead ofreporting it, we're just going
to hide it and the past will come back to haunt us.
In the first, in the original film, the whole idea of this

(24:34):
process was because they actually hit a person.
They were, they were drinking, driving.
Underage. Flying up a windy Cliff Rd. and
they hit somebody that they theydidn't notice was in the road.
And in that scenario, OK, yes, manslaughter, someone is

(24:57):
probably going to be prosecuted for that.
You know, obviously college, your college prospects are over,
things like that, that's going to affect your life.
So in that scenario, you could understand why they would want
to hide the, you know, the actual reporting of that.
But in this film, we have like 30 something people like what?

(25:20):
Like late 20s, early 30s. It's really unclear exactly how
old we're supposed to imagine these people are.
I found it very difficult to decipher, like their age.
And I think it makes a difference.
It really, it really makes a difference that these are not
high schoolers anymore. They are like in their probably
late 20s, getting married, having, you know, normal adult

(25:44):
ish things going on in their life.
And it's still kind of acting like the teenagers of the
original movie. But in this scenario, the
they've all gotten together. It's July 4th.
They want to go see the fireworks on the mountain and
they're driving up it while smoking a little bit of the the
cannabis, as they call it in this film.

(26:05):
I wish everybody knows that you referred to weed as cannabis
when you're smoking it. I just want to slap them.
And so they're driving up this windy hill and they they park
and one of the dudes is acting absolutely outlandish that I've
never seen anybody smoking weed act like.

(26:26):
But basically he's he's in the middle of the road and they have
a near miss where he almost getshit, hit by a car.
And then another guy's coming flying up this windy hill and
crashes through a barricade. And then the car ends up falling
off the Cliff. And they decide, you know what,
he was in the road. So we probably shouldn't report

(26:48):
this because we could get in trouble.
What a Gen. what a what a Gen. Z problem.
But it's like, you know, not like, remember the good old days
when like you got to get liquored up, drive home, get
pulled over by the cops? Sir, you just be careful,
please. Sir, where are you heading?

(27:10):
I'm heading home. Where's home?
Like 4 man. That way, Sir.
I'll follow you. That's right.
Remember when our law, you know,our officers of the law had
morals, You know, those were thedays.
I mean I, I think. It's such a like again, like
just do the why change that? Why change that?

(27:33):
Because it makes it so fucking stupid.
It makes the. Whole set of and premise so
stupid. Why not just like is it because
it's 2025 nobody gets do DUI anymore like I just I just don't
understand why you you would change it to this fucking Pansy
stupid like Oh yeah, I'm dancingin the road and there's

(27:56):
fireworks going off because it'sthe 4th of July and Oh no, that
guy's dead. Well, dead man's curve, no like.
It's just like, it's just so stupid.
It's like the fact they decided to change that.
It's just so moronic. I don't I don't get it.
And I think, you know, I was thinking about this a little bit

(28:16):
more and I think, you know, in the original it was it was more
so about the revenge because of the fact that they they had that
karma that they didn't report it.
And then this film, the, the, you know, the vengeance is not
so much that they didn't report it, it's that they caused it in
the first place. And so that does make sense a
little bit to me. And the reasons that like, oh,

(28:38):
OK, we changed the scenario around a little bit, but it
still makes it very for for the most part of the film when
you're thinking, oh, somebody wants revenge on them for not
reporting this to the police. I think that it makes everybody
look way worse in this movie. For one thing that you like, it
was clearly like an an accident that you could explain away,

(29:01):
right? This is not something that was,
you know, an intentional or you know, being super negligent.
The guy was going super fast up a very windy Rd.
That they call like dead man's Bluff, but it's not Dead Man's
Bluff, but they call it something similar to that like
Skull Mountain or something and or 15 body Pass or something

(29:28):
like that. That would be great.
Yeah. Like if they want like, you
know, stick well because, you know, it's probably the same
part where, like, the guy in theoriginal died.
It's probably like friendly friendly Rd.
Yeah, right with the gentrification, Yeah, nothing
bad happened in your Blvd. Don't look at.

(29:50):
Yeah, but but again, I think that this the the scenario is
really does a disservice to the movie because again, you're kind
of like sitting there like guys,why don't you just call the
police like it, doesn't it? Not only that, the I think the
funnier thing is they call the police on this.

(30:12):
You know, it's super busy, superrich hoity toity July 4th
holiday where no one is on this road, right?
Let's see the fireworks. They've called the police and
said, hey, there's a car off theroad on here.
And then they leave. And then they're the only ones
to see the police heading the opposite direction.
Like the police wouldn't be like, whoa, whoa, whoa, whoa.

(30:34):
We got an anonymous tip here. And then a car's driving away
from the scene. Like what?
No, no one used any judgement whatsoever there.
But I think that's the funnier thing.
But anyway. Also because John Saxon was on
duty that night, so. Very true.
But I think like the whole scenario, I would have been OK
with them setting up a completely different scenario.

(30:55):
Don't have it be a car accident.Don't have it be on the road,
you know, do it something else that would still signal like,
oh, this is, you know, somethingwhere the past could come back
to haunt you because of your negligence or what you didn't
report or, you know, the guilt of it.
But I feel like this, the way that this plays out in the movie
is significantly missing the like pathos or the empathy that

(31:21):
you would expect from an audience member, right?
Because you kind of want the audience to be siding with the
cast of characters in a little bit of a way.
Because in the original, you cansee as it as the audience, you
can kind of be like, yeah, I mean, that's that's a
predicament that you're in. And this one, you're kind of
like you dumb fucks. What?
It's just. Just fucking tell them what

(31:42):
happened and like you'll be fine, right?
Like not only that is like you guys.
They're just trying to. They're just trying to make it
in the jaws. Like, yeah, like it's the 4th of
July. Everything's fine here.
The beaches are open. Yeah.
And and not only does it requirethat, but like so Teddy, the one
of the characters in this that is, you know, getting married.

(32:03):
Don't you dare call these peoplecharacters.
Is getting married to Danica. His dad is like big time mayor
dude who has, you know, rich money gentrifying the community,
basically putting in a bunch of,you know, new entertainment
things in the Southport. And so he basically says, hey
daddy, 'cause that accident, butcan you cover it up for us?

(32:26):
And so he does right, uses his money, buys, basically buys the
police force and covers up the whatever investigation was
happening. Because during the process of
the car falling off the Cliff, the guy in the car reaches out
and grabs Teddy's jacket for some reason and pulls it down
with them. And so you're like, oh, damn,

(32:47):
there's like actual evidence that Teddy was at the scene
because he has his jacket. And then nothing ever happens
with that ever again. I just kind of forgotten.
But they cover it up. And so then we join them in a
year later. Everybody's moved on, kind of
not really bothered by it. Everybody's kind of just like,

(33:08):
yeah, it happened, but of coursethey were a little bit bothered.
Danica, with who is getting married to Teddy, has decided,
you know what, maybe I don't want to be with Teddy's kind of
an asshole, so I'm going to marry some other asshole that
has a lot of money and. They all look the same, like
there's no distinguishing any ofthese male characters.
It's just they all just have broccoli cuts, you know, very

(33:34):
flowy, you know, open shirts, satin shirts and like baggy
pants like Teddy Milo, like, andthey don't even ever say their
names either. So it's like who?
Like who that in the women too. They don't ever like say
anyone's name. So it's like, who the fuck are
these people? The only person that's like name

(33:55):
gets strolled around a billion times is Stevie Stevie, Stevie
Stevie Stevie Stevie. I also like the fact that this
film has it kind of a harkening back to 19 nineties, 2000s era
naming conventions because you have, again, you have a a
woman's name, Stevie, dudes named Milo, like your dog.

(34:21):
You've got a Tyler, a female Tyler, which I I love that too.
Whenever you know that that happens.
Don't. Didn't you like that?
Lovely lesbian pollen on their plane.
Love it, love it. And is it?
Who's it there for? No one just to say we're

(34:43):
inclusive. But I think I think you're
getting to something what you'resaying everybody seems the same.
This movie is really, you know, it's it's kind of the natural
progression of something like what ended up happening with,
you know, all those shows on ABCFamily and even like HBO Max,
Euphoria is like now you can, you can never have a movie where

(35:08):
you have like sort of regular people.
They always have to be the supermodel variable of, of what
you would consider a normal person, right?
So like all the guys in this movie look like 90% of their
personality is I go to the gym, right, right.
Like. They're just all brick shit

(35:28):
houses. Yeah, and like all the women are
like their personality is all I do is make up 24/7 in my.
And you know, like the the film kind of makes a joke about
Danica is like she's kind of theepitome of that where she does
like meditation in a bloodbath. You know, she's got like a bath
bomb that's like a bloodbath bomb.

(35:50):
And she meditates with her podcast and, you know, marries
into money and, you know, can't basically he can't do anything
without having a face full of make up.
And so but but everybody's like that in this movie.
There's like and and what ends up happening is none of the
characters have any personality whatsoever because they all seem

(36:10):
exactly the same and to the point where, as you stated, all
the guys are super similar in both personality, how they act
and how they look like. You would be very understandable
to mistake Milo Jonah played by Jonah Howard King for the same

(36:33):
dude who plays the pastor Judah Gillespie, because they look
super similar. Like if you put them
back-to-back, like I don't know that you'd be able to notice the
difference. At least Tyreek Withers who
plays Teddy, he kind of looks like Mayholm.
So I you know, I kind of just the kind of said all of this to
Patrick Mayholm sky. But other than that, like

(36:56):
everybody is very similar. The film does a very poor job of
setting out personality. What personality the characters
do have is extremely unlikeable.Like I would I would argue, and
this isn't again, this is this cantankerous me who doesn't
really like characters like this, the Gen.
Z ish type characters or is thisof problem with the movie?

(37:18):
It's again, this is something that people could write in and
just say, hey, Ryan, you're really wrong about this and
here's why. But for me, all of the
characters are extremely unlikeable.
I I don't really find any one ofthem to be relatable in any way.
And part of that too is that they have no personality.
So to try to relate to them in any means is is very difficult.

(37:41):
And also the film relies on an extreme amount of exposition,
especially at the beginning of the movie where there's like a
almost comical drop of exposition about Stevie where
the film again, I think that's, you know, that's if you're if
you're wondering who the killer might be, there's a clue right
there where they have to basically give you her entire

(38:02):
back story and 15 paragraphs. What's funny is Wikipedia says
that she just got out of rehab and it's like I don't even
remember them saying like that she left rehab.
They said something about the fact that she was.
They said that she was messed up, Didn't I?
Don't I remember ever hearing them being like, that's Stevie.
Yeah, she was fresh out of rehab.

(38:24):
You can tell because she's look,she's got that heroin chic body
in 19. 90 I think you would be. It's understandable you missed
that because I like I said, it'san exposition dump.
It's literally, they see Stevie and they're like, hey, that's
Stevie Ward. Yeah.
We used to go to school with her.
I used to be really good friendswith Stevie Ward, but then she
got messed up. Messed up how She got messed up

(38:47):
because she got into drinking and they put her into rehab.
And then. And then the film switches
perspectives to Stevie, like, who are they?
Oh, yeah. Those used to be my friends in
high school. We used to hang out quite a bit.
But then we got, we didn't get it, you know, we, we, we sort of
separated and we, we, we went our ways.
And like, the film goes on like that for a while with the

(39:07):
exposition dump where it's, it'sjust comical.
It's it's, it's a way that the again, the film doesn't really
know how to get. Across these characters, you
know, I was just thinking she's supposed to be like a stand in
for Ann Haitian. This movie, yeah, I don't know.
Because Ann Haitian, I know you did the last summer is the one

(39:29):
that's like go and go, right? I know the secrets, but I won't
tell you, you know, And then just kind of.
Yeah, I mean, and I'm not sayingthat I think that original
slashers have great character development either.
Like of course they don't. You've got a 90 minute movie

(39:49):
where you are expected to see characters murdered in various
ways and you got a good mix of them.
But I would say that most of those movies at least made an
attempt to make some of the characters a little bit likable
or relatable. And in this.
Think about, say, think about sorry to interrupt, like think

(40:10):
about scream, any of the screamsor whatever right fits right in.
You have like, you know, Rose McGowan and you know the, you
know, slutty ha ha girl, and like, you know, Sydney the
virginal. And then you got, you know, they
have these types. They have these archetypes, but
they're actually played to the archetypes here.

(40:32):
What's the archetype for these characters?
They're just rich, snobby assholes.
Right and that's the thing that you get from this movie is that
like none of them really feel any different.
So there's just no, I would say this and and again, I would say
too that this movie with the with the setting, especially
because we haven't really talkedabout that, but the setting of

(40:52):
Southport being very gentrified,you know, being very, very rich
to the point where I was like, where the fuck are we?
Like what kind of place? Like you don't see, you know,
again, I understand cities can sometimes be very rich and up,
you know, they can have an uptight community, but like you
generally see a nice mix or likeon the South side, it's a little

(41:14):
bit less nice, you know, but here it's like there's no
rundown YMCA or anything. Everybody's going to like the
state-of-the-art, just newly built gym that has like AAI
sauna that tells you exactly how, you know, the temperature
you need to reach to be getting rid of your toxins.

(41:37):
It's just outlandish. And, and I would say that again,
that's, that's part of this, thefilm's difficulty and providing
relatability. And what you want from a movie
is like this, like a slasher is of course, you want some of that
schadenfreude of the audience tobe like, damn, I'm glad I'm not
that person. You know, like, or like, I'm not

(41:58):
an asshole, so I wouldn't get mykarma like that.
But at the same time, you do want the audience to be able to
relate it to a certain extent tothe characters and and kind of
see themselves in it and be like, yeah, you know, I could
see myself as the final girl or,or that person that, you know,
might be in that situation. Again, hate to harp on it, but
again, let's go back to Scream. What makes the opening of Scream

(42:20):
so impactful? Yeah, I mean that that it's,
it's someone that you don't you like you're expecting to not to
not die and. Not die.
And it's a very, like, believable set up, yeah.
Yeah. And, and, and I think that that
kind of happens again and again.Now, I will say Jennifer Kaden
Robinson does have a good eye for setting up these set pieces,

(42:43):
these locales, because it is, you know, the direction, the
cinematography is pretty good inthis movie.
While I do think that the film often times has a directive
video feel to it, the actual money that Columbia threw into
this movie for some reason is pretty intense.

(43:05):
I mean, it's not a low budget movie by any means, so films
like. This are why, like, you know,
Hollywood's like going tits up. It's right.
Exactly. There was no need for this to be
a, you know, theatrical release and to have a nearly $50 million
budget. So we've talked pretty

(43:25):
extensively about the charactersand I it's pretty clear that
like, yeah, no, we didn't like them, but we think we got a lot
more to talk about. So I think we need to to move on
a little bit here. So, so in terms of, you know,
the actual slasher elements, theguy with a slicker and A and a
fish hook that you know, is omnipresent in both the original
and this one. How do you think the film does

(43:47):
with that, with the with the killer appearances and and
everything else? Bored out of my mind, Tedious.
The kills aren't impactful at all, they're all just very one
note. Do you think it's gorier than
some of the other average slasher films?

(44:09):
Not by today's standards, no, but also to a lot of the kills
and stuff that as you mentioned while you're watching in
theaters, they just like RIP offa bit.
Like, you know, 7 different horror films.
Like fucking, you know, doing like half the kills, like, you
know. The movie owes a lot.
I mean, of course it owes a lot to its original, you know, but

(44:29):
it owes a lot to Scream as well.I mean, there are a lot of
shots. The one in particular that
really struck me is when Tyreek is being murdered outside while
his parents are inside is like vast compounded Mansion House
where they his dad is like so far away that he can't hear the
screams of blood curdling screams that Tyreke is.

(44:52):
Or Teddy is yelling out and he'scrawling on the ground as the
the killer is kind of just walking behind him maliciously.
Very much reminiscent of the opening of scream where she's
crawling in the grass towards the house and her parents are
getting home. That was like, I was like, holy

(45:13):
shit, that's like kind of stolenshot for shot almost.
But yes, I would say, you know, again, I think this film does
have its moments of like nice setups, especially in terms of
like the actual cinematography and the, the locations, the
settings of it, because it's, itis pretty, you know, like it's

(45:35):
got a nice complicated scenario to it of where they're set in
all these like very rich luxurious mansion houses.
I mean, the one guy has a fucking automated door for his
house. Like it's a like a Kmart or
something. You know, it's a little bit
nicer than the the Kmart style where it like maybe one side of
the door doesn't work, but it's still an automated sliding door.

(45:59):
All I could excuse me, all I could think of was like, all
these houses are these people must work for the the fine
people in Breaking Bad at Green,you know, Grant Gray Matter,
because they're all have these like stupid luxurious
mountainside ocean view, you know, homes.
Yeah, but I, I mean, I think that one thing that struck me

(46:22):
about the killer, I mean, I think the the whole idea of a
killer as the Gorton's fishermanis, you know, from, I know, from
the original, I think. Ring Ring the bell like it's
like John Long John Silver's ring the bell.
I mean, I still think like in the original, it is kind of a

(46:43):
hokey idea, even going back to the 1997 one to have this dude
who's running around in a rain slicker like and and I don't
know, it's it is kind of a hokeyidea, but I like I'm on board
with it. It's just like kind of iconic.
So it makes sense that this filmbrings it back in a in such a

(47:03):
way. So I'm I'm fine with it.
I one thing I didn't really carefor in this movie is that, and
it's not just the killer, but everyone seems to be just able
to sneak up on people like they have no footsteps whatsoever.
It's just like this movie employs a lot of shots of people
who are just like they're behindpeople and they're like turn

(47:26):
around like whoa, where did you come from?
It's like, and then that there'sanother scene too that I've
found really funny is where Tyreek Withers character Teddy
basically does like a lineman tackle on the fisherman and then
he's just gone like into thin air.
I was I leaned over to you. I was like, is this dude non

(47:46):
corporeal or something? Like he's just in the sea fog,
just kind of misting around wherever he wants to because he
literally just tackled the dude and then like looks at the floor
and he's gone. I I so I really didn't care for
the whole like, Oh, the killer can just slip away, you know, so
easily. And that's something that's

(48:06):
employed with a lot of slashers.I I'll, I'll admit, and and I
also should admit that I know that what we're criticizing here
is not really just AI know what you did last summer thing of
2025. Slashers do this quite often.
And I'm not trying to nitpick some of the things that slashers
might do. And it's kind of like just

(48:28):
implied that slashers have thesethings.
But at the same time, I feel like this movie just did not do
a good job with all of the things that are that make up a
slasher. And so I think when the when we
nitpick stuff like that, it was just icing on the cake of things
that we did not like about this movie.

(48:49):
Well, we, we, we haven't discussed it, peeled it back at
all. What do you think about the
return of Freddie Prince Junior and Jennifer Love Hewitt?
Because that was heralded in, you know, the lead up to this
movie. Hate it.
You don't need the checks. You guys are doing fine.

(49:11):
Please. Why?
Why sully your good names? I mean, it's I think that this
movie really wanted the Scream element of having Jennifer Love
Hewitt comeback as Julie James, right?
Freddie being Dewey it yeah, it kind of it wanted that.

(49:32):
But I think at the same time, when you really sit down and
think about it, it, it makes a lot of sense in the Scream
franchise to have Neve come backbecause she's kind of targeted
by a ghost face. And it's sort of like the whole
premise of Scream revolves around Nevada, Sydney to some

(49:54):
extent that Ghostface was created because of her.
The the like, I mean, she basically, not intentionally,
but she created that monster. And that monster is always, and
it's kind of like Jamie Lee Curtis in Halloween as well.
That monster is always intimately connected with those
people. Now, in Jennifer Love Hewitt's

(50:14):
case, and I know what she did last summer, she was in the
wrong place at the wrong time, ended up murdering a dude, and
then there was vengeance for that.
And I would not say that those two things connect very well to
this Requo and that if if I wereher and a teen, I mean, they're

(50:35):
not teens. They're like some. 44. 4 year
old, yeah, if they they came to me and said what should I do?
It's like, well, and she kind ofsays this in the movie, like,
well, what did you do last summer?
Like you did it again, this was your actions.
And there are, you know, there are consequences, but it doesn't
really need to involve Julie because she has very little

(50:59):
involvement. And I would say in this movie,
she has really little involvement as well.
She's just kind of there to be amentor figure.
The same with Freddie Prince Junior.
Again, to be sitting, to be NAV,to be do it, to be like, it's
like. That's why I find that old to be
trite, because there's literallyno reason for them to be back
other than. Whoa.

(51:20):
Hey, you know, to the stars fromthe original or back.
Right, there's no reason for them to be.
Here not what like like, Oh yeah, if someone was chasing me
I'd go kill them. What are you giving their advice
for? Yeah, You know, it's just, it's
like I just. I was just sad because it's just

(51:42):
like I, you guys don't have to do it.
You have money, you know, you don't have to keep doing.
It's like the same thing when Courtney Cox shows up and shit.
It's like you don't have to do it.
You have eternal money. David Arquette, I can
understand. He doesn't have eternal money.
But I mean, and I think like especially I'm really saddened

(52:06):
of what they did with Freddie Prince Junior because.
What is your Peroni? They made them.
Yeah, because again, I don't, I don't love the fact that the the
film kind of tries to play this off as some male trauma cause at
the end of the film they literally say men should just go
to therapy instead of killing, you know, like killing, being a

(52:29):
serial murderer. And it's like, yeah, but again,
they made it so dumb. It's like there's the film even
at the end. Not only that.
Yeah, I was saying not only thatI might, I'm sorry to interrupt,
but I might be saying the same point whence we find out.
Spoiler, Stevie's the killer. She gives a whole spiel on like,

(52:50):
I'm the woman, I'm a powerful woman and I'm here for my
vengeance and all the the the, but.
And then at the end with like you find out that Freddie's tied
to it too. They're like, it's just if men
went to therapy, like, what the fuck does that have to do with
anything? Like none of it makes sense.
Listen to me. Like it's so fucking batshit
stupid. It's so stupid.

(53:11):
I think no, it's it's OK. I was, I was just going to say
like I think that this film doestry to deal with trauma to a
certain extent, but again, it doesn't.
It just really doesn't know whatto do with the character.
So at the end of the day, with like, especially with with
Freddie Prince, genius characterRay, it's sort of it, it like
has to shoehorn in the fact thathe like it.

(53:33):
It tries really hard to even figure out what his motive would
be in this. It's like it takes like 5
minutes of the conclusion to just go through the process of
like Ray, really, it's like, yeah, I needed people to
remember what happened to us. Like what?
Like how does that even align with?
What is that doing right? Now, if anything, it'd make more

(53:55):
sense if it was like, because ofthe trauma that Stevie went
through and like, her need, like, you know, being at her
lowest point, you know, I was there to help her because I
understand Trump. You know, I have experienced
trauma that would make sense instead of just like, yeah, I
just want to. I couldn't do it, you know,

(54:16):
Yeah, I I just do need to remember us.
Like that's like that whole premise of the film is so
fucking stupid. All the town not like, you know,
they jaws it up where it's like no one remembers what happened
30 years ago. We need to be remembered.
Like, is it supposed to be like a stand in for like, yeah, back

(54:36):
in 1998 there was a lot of parodies that I know you did
last time, right? But now no one gives a shit.
It's like, yeah, there's a reason why you were in the
zeitgeist and you got booted outpretty quick 'cause you weren't
that. Important.
Yeah. I mean, I was pretty offended by
the end of the film being so like almost nonchalant about

(54:58):
it's reveal. It was just very kind of.
And again, I think this is part of the problem with the movie is
that it doesn't really have muchgoing for it in terms of like
asking the the viewer to have any kind of inclination of who
the killer could be. There's really no, it doesn't
really ask of the audience to even attempt to think about who

(55:21):
it is. I would say there's really not
even red herrings involved in this.
There's. One.
There's one, and that's the priest.
Yeah, the priest, yeah, for a certain extent.
But again, all of those things kind of come out of nowhere.
So like all of a sudden it's just like, hey, this priest is
here, We think it's him. You know, they could.
There's really no, there's no like besides the fact that he

(55:45):
has a creepy, you know, church and, you know, all organized
religion to some extent is a little bit questionable.
There's really nothing to pinpoint him in particular.
And I would say that the the other problem is that, you know,
when the film really gets down to it and, you know, Stevie is
revealed, Stevie is just not that much of A character.

(56:06):
Again, we only know about her because of the exposition that
the film has given us directly. She's not really involved in the
proceedings that often. We, you know, so we don't really
know that much about her at all.And so for us to be able to even
have an idea of that it could beher, I think is just it.

(56:27):
There's just no possible way foryou to be able to divulge that
you you wouldn't know because you have no idea about her.
And I think that's an just another problem with I know what
she'd last summary. It doesn't.
I think, like again, the the ending kind of comes off like a
wet fart. And that's that's because at the
end of the day, after, after, what is it, 110 minutes of

(56:50):
sitting through all of this, youknow, very bland, kind of boring
predicament that they're in thatkind of moves through all of the
scenarios of the original. I know what you did last summer
in different manners. There's really nothing here that
makes you go. I can't wait to find out who

(57:10):
that killer is. You're just at the end, you're
just kind of like, OK, all right, it's Stevie and whatever.
Oh, OK. It was Ray as well.
I mean, I was mad. I was mad that they did Freddie
Prince Junior like that. But you know, again, I just feel
like everything kind of happens and you just start.
Not only that, I want to get your tick because how do you
feel about it? Them screaming it up with two

(57:33):
killers yeah, like of of like ofhaving the shove that ad like
you couldn't just be one that. Had to have, I mean, I do think
to a certain extent they with the way that the film plays out,
you absolutely had to have a guykiller involved because some of
the you know, again, like we talked about how the the male

(57:54):
characters in this movie are pretty ripped.
Like Teddy goes to the gym. Milo is, you know, still pretty,
you know, beefy looking dude, even though he's you know, he's
not to the certain extent as Teddy.
And then the killer goes toe to toe with them and like literally
does, you know, fisticuffs. You just would not have the
Stevie would not have the strength to be able to do some

(58:15):
of the things that she like is proposed to have done.
So you have to have a guy as well.
And not only that, but like whenever the fisherman walks, he
has like the the pounding of theDoomslayer on the floor, like
how sounds like he's 500 lbs with the boots on the ground.

(58:35):
But but so I think like it had to have a male killer to some
extent besides Stevie and I don't know, I I feel like.
But my question what I say? About your your question is
still scream 2 killers does thatI don't know I mean, I think

(58:56):
I'm. Tired.
I'm tired of it. I'm.
Tired. You're tired of the duality of
it. It's like.
Just because like you know, withlike you know, with the screams
and then when they as they progressed with like the the
newer ones, you know, of like having like a like a it's a four
way of this is like yeah, it's like just stop.
Like you don't. It's the same thing like the

(59:17):
meta talk. Like you can get away with like
the meta. It's not 2011 anymore.
Like meta's not that's like, youknow, incredibly smart and
engaging. Like just stop.
Like you don't, you don't have to do it because again, if you
can't pull it off, well, like just having it there, like I get

(59:39):
it from a logistics standpoint. Like, yeah, Stevie, the 70 LB
wonder bitch wasn't going to be,you know, knocking these dudes
out and like cutting their headsoff.
But again, at the same time, it's like, I feel like it was
only there for one to hit, give a reason for Freddie Prince to
be a killer. It's too leaning into Wes Craven

(59:59):
and, you know, Kevin Williamson's good work.
Yeah, Blaze your own trail. I understand the first film was
written by Kevin Williamson and was, you know, a a poor man's,
you know, scream. I understand that.
But at the same time, do like ifyou're going to remake it and

(01:00:20):
try to be. Stand out from the original
stand out. Don't like tie yourself?
You know, like a boat anchor to both properties.
Yeah, Yeah, I agree. I mean, I think, I think that
it's, you know, it wants to haveit both ways.
And I think the the culmination of that element would be later
on, we have to have like a moviewhere there's a slasher where

(01:00:44):
they don't kill any of the main group.
And it ends up being that the film is kept from you the whole
time that all of the main group are the killers.
Like, you know, every single oneof the main group is the killer
at this point. Because I think that would be
the culmination of like the filmkind of playing a trick on you
sort of in the same vein of likeApril Fool's Day.
That's kind of the where the slasher needs to go.

(01:01:08):
Because again, yes, we're going to keep getting more and more
killers. Like, no, it was five killers
that were involved in this one and six killers in so I don't
know. I mean, I think that I I think
it's tough because again, you know, the one killer, I think
films like this kind of try to try to play it up because they
realize that the reveal is the big thing and they want that

(01:01:32):
reveal to go on as long as possible.
And in this film it certainly does.
Again, this film is like 110 minutes.
It's way too long. Wait.
Way way, way too long. There are so many moments that
it could could have been cut outof this film to make at least
like a nice 90 minute concise film.
And again, all of those moments.I was thinking too of what you

(01:01:54):
usually it's me. You were the 1 aggressively
checking your watch every 5 minutes.
It was great. You know, like, yeah, like,
yeah, 'cause. It just it just kept going.
And I think like, again, for onething, it's just too long to
spend in the presence of these people that like suck, like you
just don't really like them. But again, it doesn't really use

(01:02:15):
it to its advantage. It's not like we're getting a
whole lot of of development about these characters.
I think probably the one the main thing that would have been
even more interesting that the film kind of goes into and then
forgets about is like the fact that Ava our you know, our main
protagonist has a lot of guilt about what happened.
And so she kind of punishes herself and that comes out in

(01:02:38):
her like, you know, the aggressive sex that she has are.
You sure she's the main character?
Because on Wikipedia it has Diana's domain.
Danica. Danica, yeah, yeah.
I mean, yeah, again, like I it'sagain, I think like the film
misses a lot of chances to kind of really go into these

(01:03:00):
characters a little bit better. So out of an hour and 50
minutes, it's it's wasting a lotof time.
We didn't talk about the fact that again, this film really
it's clear really, really, really wanted to get Sarah
Michelle Gellar back in from like from the outset.
There's a multiple instances of the film just showing like her

(01:03:23):
her head as part of the original.
I know she's last summer. Helen Shivers for for her being
like the the where, where do they call it?
Like the Corker queen or something like that of
Southport, whatever they call that.
And so like it's clear they really want to get her in.
And so they end up using her in a dream sequence that is again,

(01:03:44):
like it's just a waste of time. I think I'm all for seeing Sarah
Michelle Gellar, but they could have done it in some sort of
flashback. I don't think we really needed
to see a like useless dream sequence.
I don't know how you felt about that, but.
I I agree again, we were joking the entire time that that

(01:04:07):
they're like, well, Freddie and Sarah must have done a coin toss
on like who has to be in this shit?
And then she shows up and it's like, oh God damn it.
And not only that, though, too, they have the gall.
The gall. They had this film when it has
two minutes of her in it and sheis spectacular in it.

(01:04:27):
She is very, you know, bitchy and condescending and great and
that you even though her end is ruined by horrendous CGI.
They have the gall to say starring Sarah Michelle Gellar
and then featuring Freddie Prince, featuring Jennifer Love
Hewitt, who are like in the film20 times more than her.

(01:04:51):
I mean, great. Freddie and Sarah are one unit.
So it's a paycheck. God bless.
But at the same time, like it's just like it's so just like, oh,
like, yeah, guys. You remember Sarah Michelle
Gellar, the not star of I know you did it last summer.
You know, like the fifth care a person down on that list?

(01:05:12):
No. Yeah, yeah, I, I didn't care.
I wish they would just have usedher in some sort of, you know,
flashback sequence, something like that.
We didn't really need that unnecessary dreams.
Because again, I, like I said, Ilove Sarah Michelle Gellar.
I think she did a great job. She really embodied Helen
Shivers yet again, you know, thefacial features, all of that

(01:05:36):
spot on, excellent. Which again, just kind of
cements the fact that, like thisfilm is so barren of anything
else that you like have to kind of grab at straws, you know,
like, you know, film is not good.
But Sarah Michelle Gellar, she did a pretty good job.
I'll give her that. You know, Freddie Prince Junior,

(01:05:58):
he doesn't have that much range,but he's not.
Oh, he's not too bad. And then I love how he comes in
like, Quint in the fucking, you know, town hall like.
You sure about that? Fishermen running.
Around Jennifer Love Hewitt presents always welcome.

(01:06:18):
She's you know, she's great nice, but you know, again, I
don't think the film uses her inany real purposeful way.
So I don't know and, and, and not only that, but there is that
post credit sequence that we haven't talked about in the we
we saw this movie in theaters. There was probably like 7 other
people in it. None of them felt the need to

(01:06:39):
even stick around for the end ofthe like first part of the
credit sequence. So if that tells you anything, I
felt like the engagement level for the movie was low.
But I don't, you know, I don't know, maybe people did like it,
but they did leave before that even, you know, that pre post
credit sequence occurred. But getting Brandy in there,

(01:07:00):
poor Brandy too, had to be drawnthrough the thicket to come in
and do this movie for a really unnecessary throwaway attempt at
like getting a sequel together, which I do not think that's
happening. But I think based on the box
office alone, some did not do very well at the box office.

(01:07:22):
I don't think they'll be creating a sequel for it, but.
I wonder why? I think we've done a pretty good
job of of laying out exactly whythat is.
Anything else that we didn't discuss?
What else? What else?
I think that's about it. I mean, I think we covered, I
like, I think our dislike and our ire for the film itself is

(01:07:48):
pretty apparent. There's really not that much
that I can say about it that I actually legitimately liked from
the dialogue to the characters to the to the actual kill
sequences in the reveal. I think the one thing that I
would say was actually not that bad was the cinematography

(01:08:10):
itself. You know, it does look like a
big budget movie. It's got a lot of good
locations, maybe not used in thebest manner, but what have you.
So I guess we got to rate this thing and I think we, we decided
on a rating of R, right? This is this is an R rating,
which was regrettable. The hard R.

(01:08:32):
The hard R for us? Regrettable, but on a scale of
zero to 10 broccoli hair, which is all too prevalent throughout
this movie, what would you give?I know what you did last summer.
3 out of 10 this film pisses beyond.
It's just it's just sticks my cross so badly and it's not even

(01:08:56):
for a property that I even care that much about.
It's tedious, it's long winded, it's boring, it's uninteresting.
None of the actors outside of Freddie and Jennifer and Sarah
are any good and they phone it in anyway.
Nothing about this film is good.There's no good here.

(01:09:16):
It's a boring, terrible, meandering piece of shit that's
two hours long. There's no reason for this film
to be two hours long. There's no reason for this film
to even fucking exist. I don't understand.
Somebody from like one of the reviews from like somebody from

(01:09:38):
a magazine was like light hearted light or fun romp.
Like what the what are you fucking talking about?
This film is so boring and tedious.
There's no fun to be had here. This film doesn't know what fun
is. There's no like none of the
kills are exciting. Nothing about this film sticks

(01:09:59):
out as even being deserved to have $50 million in this tight
economy to be burned on this piece of shit.
It's such a horrible bad watch and like I said I'm not even a
big fan of the first so I can only imagine the Gen.
Xers and millennials of your whoare into the slashers and who

(01:10:22):
are in deeply ingrained to this and do have actual real
nostalgia for the original how they feel.
Because again, I don't know who this film is for.
There's nothing enjoyable about it.
I didn't enjoy a single fucking 2nd of this film.
It's like just TDM the film. It's a piece of shit.

(01:10:43):
It's a 3 out of 10. What a waste of fucking time and
money. Yeah, I would give it a. 4 out
of 10, I think. I mean, I'm giving it some
benefit of the doubt in that, again, I don't think that I know
what you did last summer as a franchise is really all that
worthwhile to bring back as a requel anyway.

(01:11:05):
It doesn't have that much staying power when you think
about the original film. So there's really only a couple
iconic elements from it. And see what you're left with is
trying to make a copy of a copy.And it's really, you know, the
again, it's it's like that meme of where you just keep losing

(01:11:25):
pixels until you get to really nothing left.
And I think that this film has alot of that again, it seems like
the everybody surrounding this film, especially Jennifer Keaton
Robinson has some sort of, you know, I guess nostalgia for the
original, But I, I don't, I don't know.

(01:11:48):
I mean, it it it seems to be harkening to a group of people
that don't really exist, especially considering the fact
that it's, you know, like we said, very Gen.
Z. If I'd to the point where a lot
of these characters don't reallyfeel relatable in any way.
It almost it's like, who is thiswritten for?

(01:12:09):
I mean, the people that it was written for that presumably
written for would probably not even know the original.
I know what you did last summer.Now, maybe that's a blessing in
disguise for this movie. Maybe people would be open to it
a little bit more if they didn'tknow the original.
But I don't know. I, I feel like for most people
who would be watching this for nostalgia value, they're not
going to enjoy it very much. I feel like it doesn't do all of

(01:12:33):
that that well. It feels like a copy of just
trying to cash in on Scream and much like back in 1997, how this
I know what you did last summer started out as just a a
basically another try attempt atcreating a Scream franchise from
Kevin Williamson. It's the same idea with this one

(01:12:54):
to try to do a recoil of something that worked really
well with Scream again and everything that you've seen from
this movie, from the releases, the trailer, the poster artwork,
all of that seemed really generic at the time.
Well, so is the movie. It doesn't really do all that
much different. You know, Again, like I said, it

(01:13:15):
does have some nice visuals, some cool set pieces.
It does seem to have a big budget element to it and you
know, some good cinematography. But at the same time, everything
else about it feels really direct to video.
All the, you know, the actors are really just kind of not that

(01:13:35):
great, not recognizable, don't really have much personality to
them. And I, I found myself just
getting very annoyed the longer this movie went on, especially
considering that it is an hour and 50 minutes.
And I, you know, by the end of it, I was just like, all right,
come on, let's, let's get this thing over with.
And in the attempt at trying to solidify a sequel just made me

(01:13:58):
angry at the even angrier at theend of the movie.
I was like, don't you dare. Hey, you know what?
They will. They'll get away with it.
Yeah, I know they're going to get away with it.
I was like, don't you, don't youdare try to bring this back for
a sequel. But so anyway, 4 out of 10 for
me, I would definitely not recommend this.
I think we've been pretty harsh about, you know, other slasher

(01:14:19):
movies of the time, but I think we know we were pretty fair for
for hard eyes. And this one definitely does not
match up with some of the the better fare that's come out
recently. And also it reminded me a lot of
something like my My Bloody Valentine 3D.
There's a lot of sequences wherethis almost looks like it was

(01:14:39):
shot for 3D. Like when they do the whole
harpoon sequence where the they like zoom in on the end of the
harp, the tip of the harpoon or like the hook.
I was like, man, this is really like my blood.
And that's not a compliment, by the way.
Somebody has to, somebody has tokeep reminding them that, Sir,
that that died like. Yeah, the 3D element is gone.

(01:15:00):
We're not doing that again. But it they had not a compliment
to be similar to my buddy Valentine 3D.
So, yeah, All right, so that's that time and money not well
spent outside the country. Yeah, I think we're we, we

(01:15:22):
pretty soon we got to move into our red hot, whatever we're
doing Nineties, 90s action summer.
Next week because we got 4 weeks.
I know I we have to put that together still, we haven't
really discussed what we want todo for it, so we'll have to come
up with the game plan on that, but.
Yeah. Rebruary We've been, yeah, we've

(01:15:45):
been busy. So it's been tough to do.
I don't know why we spent the time something like this.
Just really regrettable again. We could.
We could have done. We could have done Eddington, We
could have done Phoenicians. I know could have done any of
those and we chose to do this one instead.

(01:16:06):
So but yeah, thanks for listening.
TuneIn next for our red hot 90s action summer.
You can listen to us on pretty much any podcast app that you
use. We're on our home base at
Spotify, Apple podcasts, whatever you use, we're on it.
To subscribe, leave us a nice review.

(01:16:27):
We have Facebook and Blue sky search for us on there.
We have an e-mail address to Blood Black Run podcast at
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Let us know what you like, what you don't like, tell us how
wrong we are about the genzification of these types of
movies, and we also have a Patreon or Spotify page.
Anything you donate goes back towards beer, so we appreciate

(01:16:48):
that in advance. Anything else to add before we
close it out? Fuck that movie.
Eloquently spoken. All right, well, until our red
hot 90s action summer, Take care.