Sometimes it feels like we live in a perpetual cinematic time loop. Take this month of July, for instance. Superman, How to Train Your Dragon, Smurfs, Fantastic Four, a Jurassic World movie, etc. Although these are all brand-new movies and franchises, it feels like it could easily be a compilation of releases from the last 40 years. Speaking of which, and representing 1997, we now have I Know What You Did Last Summer. Another horror franchise that has been unhelpfully un-renamed from the original entry, as it earns a reboot/sequel from central Hollywood. The first two entries in this hibernating series rode on the coattails of the success of Scream and a reinvigorated interest in slasher films, especially if they were whodunnits and were considered better with meta. Despite some cheesy and canon-crushing stinger scenes at the end of the originals, there have long been rumours about another big-screen entry to those two flicks. This is despite a supernatural spinoff (I’ll Always Know…, in 2006) and a poorly received Amazon series in 2021 (tacky twin sister swapping shenanigans and extremely convoluted lore). After the cancellation of that series, the idea of a legacy sequel was relaunched, and Jennifer Kaytin Robinson pitched her version to Sony Pictures. With a green light confirmed, fans were pleased to find out that the original leads (Freddie Prinze Jr. and Jennifer Love Hewitt) were confirmed as having major parts in the plot, along with a new lineup of victims for the “Fisherman”. Filming took place between October 2024 and March 2025 in New South Wales and Los Angeles, and it’s now being released pretty much globally at the height of Summer… ironically. But is it “reely” bad or a hooked-on classic?

 

In present-day Southport (home to the massacre in the 1997 film), Ava (Chase Sui Wonders) is returning to her hometown to attend the engagement party of her old high-school friends Danica (Madelyn Cline) and Teddy (Tyriq Withers). Whilst there, she also meets up with her ex-boyfriend Milo (Jonah Hauer-King) and estranged chum Stevie (Sarah Pidgeon). As the gang of five happily reconnects, they decide to get pissed and stoned and drive along the clifftops, because that’s always a great idea in a horror movie, and nothing bad will ever come of it. Of course, one of the group behaves like an asshat (“He’s so annoying when he’s on cannabis”) and a (strangely familiar) accident occurs. This leads to a presumed fatality and an instant cover-up, aided by Teddy’s familial and regional connections. *Phew*. Glad that’s sorted. One year later, another social engagement leads to a reunion of these five characters, who are all still sworn to secrecy but have been emotionally stunted by the events of the previous Summer. So, when a black-garbed “Fisherman” appears and starts to attack them and their loved ones, they’re going to need some help. Perhaps Julie James (Hewitt) and Ray Bronson (Prinze Jr), the sole survivors of the first Fisherman attacks, might be able to give them some advice?

 

The 2025 version of “I Know…” starts like a straightforward remake and instantly feels like a complete retread. We get MOR ballads and perky teen tunes as the plot eases us into the vapid shenanigans of the new leads, complete with clothes-changing montages and longing glances. Even the accident and the immediate aftermath feel like it has been cut-and-pasted from the original, with only meme references and cultural quips to make it feel more relevant. Luckily, that changes somewhat post-incident, and it becomes a little more distinctive as it mixes nostalgia with modern sensibilities. The leads are a little edgier, and social satire slips into the plot as Danica is extremely fickle, a slave to social media, and defers to her “life coach” as opposed to the police or, I dunno, anyone with any useful practical knowledge. Ava is pricklier as a central character, hooking (hah!) up with a random woman for toilet-based rumpy-pumpy at the airport and then asking her male beau for “punishment” in a romantic encounter. By contrast, the male characters are a little shallower and duller, making it obvious that the two female leads are aiming for the Hewitt/Brandy partnership seen in “I Still…”. To be fair, Cline makes Danica far more likeable than she should be, and the chemistry just about works on that level.

 

You would kind of hope that the blood and intensity level would be amped up a little for this update. Well, the first kill is pretty gnarly (spoiled by the trailer, natch), and a later kill involving close-up work with the hook is pretty intense; otherwise, though, the other murders are a little unimaginative and ape the earlier films with strangulations, hangings, and head-smacks. It’s a little disappointing in that respect. However, at least Robinson makes the Fisherman a more formidable boogeyman. The presence of the slasher villain is heftier somehow, with thudding footsteps and OTT slashing noises accompanying the murder attempts. It puts the antagonist on par with the iconic mannerisms of Jason and Michael Myers, rather than the more ambiguous stalking techniques in the predecessors. A quick word on the sound editing as well here. Although the visual editing is a little choppy and inconsistent, there’s some really nice sound design, which often gets ignored in slashers. There’s a neat emphasis on stillness and silence before (mostly obvious) jump scares, something that often gets muffed in modern horror, but not here.

 

So, is it a sequel or a remake then? Well, it’s very much a legacy sequel. And whilst it understandably ignores I’ll Always… and the non-canonical TV series, it very much caters to fans of the franchise. To be honest, Hewitt isn’t given a lot to do, but at least the plot doesn’t treat her as a disposable asset, and her presence is welcome. Prinze Jr is given a little more to do, being a resident of Southport who despises how local authorities have overwritten the past and shows empathy for the new crew. There are even some quips and references to the 1997/98 films that mark this out as a meta-meta-experience if you like. Be prepared for loads of pictures of the much-missed Helen Shivers (Sarah Michelle Gellar), who even appears on a T-shirt (“I sell it on my Etsy shop. Ugh, God, wasn't she so hot? It sucks she's dead.”). When it’s suggested to Ray that they should all just bugger off to the Bahamas, he deadpans that it’s not a good idea for “reasons that he won’t go into”. See? Meta-meta. And there are more teases and surprises… which I won’t spoil. One particular sequence is entirely unnecessary, stops the story stone dead, and lasts for a while… but most people will have a broad grin on their face whilst watching it for understandable reasons. Stick around for the mid-credit sequence as well for some more fan service.

 

How does it work as a standalone slasher film, though? Probably not so good. It is solid, and there are some nice touches to appreciate. The introduction of Tyler (Gabbriette Bechtel) as a true-crime podcaster is something that seems obligatory in modern horror, but at least it offers a tongue-in-cheek way to reference Southport’s notoriety and why the cops are eager to cover things up. You half expect the mayor from Jaws to jump into shot and declare that the beaches are all open and people are having a wonderful time. There are also neat references to changes in the town and how “gentrification” has affected everything. Time passing since the 90s is additionally acknowledged by referring to the unhappy relationship status between Ray and Jamie, so even that aspect is catered for.

 

But as much as the film jumps through hoops and extends fan service to those demanding it, the actual slasher plot arc feels a bit hackneyed and old hat. And yes, somebody does say “Enough with this Scooby Doo bullshit!” at one point. Despite the modern updates and in-jokes, it feels like the formula hasn’t actually matured or changed much since its 90s birth. One murder sequence feels like a complete rip-off of Drew Barrymore’s demise in the very first scene of Scream (metres from salvation and calling for help). This is compensated a little by the (very silly and convoluted) payoff in the final scenes, but it still feels unpolished when compared to the original Scream or even the first I Know…. As such, it is an entertaining slasher, and fans of the series will find much to enjoy, and there’s not much more to say than that. It’s certainly a step forward in the right direction after the last sequel and TV series and even teases a way forward (should that happen). But there’s nothing really new or outstanding here. It’s mostly a love letter to the fans of the franchise and a reminder that cheesy slashers can still provide easy entertainment. Fine for fans and casual genre watchers, but don’t expect anything (rain) slicker.