A whodunit hits you who is interested

When “I know what they did last summer”, the Slasher movie genre came 25 in 1997 and everything that could be done was done. It was created, from rag day albums such as “The Last House Left” (1972), from the rough raw compost of the drive-in/grindhouse world of the early 1970s. It shocked and scared and scandalized people. In “The Texas Chain Saw Saw Massacre” (1974) it was raised to an annoying level of Hitchcockian art. It had been poured out with “Halloween” (1978) and then permanently with “Friday, the 13th” and formulated his sequels. It had received a disturbing feminist spin in “I spite on your grave” (1978). And then, in the 80s, it became a knowingly extravagant freak show burlesque with the films “Nightmare on Elm Street” and with a hundred sticky Z-movie degrees.

The novelty of “I know what you did last summer” was not the Hulking Psycho -Killer, who was a less scary version of Michael Myers or Jason Vorhees, who, like the Gorton's fishing mascot, or even his premise, the four teenagers in Südport, NC, were carried away by the deadly car accident to prove them when they were reached. When did the Slasher genre ever need an apology to kill pretty young things in a tickle? The jumping point of the genre was to slaughter children … simply because of the crime of passing.

No, the “Innovation” of “I know what you did last summer” is that it is the bloody version of a shiny Hollywood youth film with current stars like Sarah Michelle Gellar and Ryan Phillippe and Jennifer Love Love Hewitt and Freddie Prince Jr. The film was so vigilant and unforgettable (not better). Nevertheless, there was a hint of Karma to the fact that Kevin Williamson wrote it, the high -clan script magician from “Scream” (which came out the year before). In “Scream” in slices and cubes, the Slasher genre even cut into slices and threw and revealed that his audience was completely in the joke how much smarter they were than any of these films. “I know what you did last summer” was Williamson, who effectively brought the Slasher film back into its pre-Ironic stupid roots.

So what remains a remake of “I know what you did last summer”? The Slasher genre is now 50 years old. It is a form that has been difficult to play for 25 years (although David Gordon Greens “Halloween” franchise tried, even if he was ultimately less successful than the creators of the recent “Scream” sequels). The first thing you notice about the new “I know what you did last summer” that it plays very straight, is that the murders are not particularly grasp or worrying. It is the same murderer that we remember the fish hook from the 1997 version and its continuation, The Fiend in the hat of his fisherman and slicker and boots. As staged by director Jennifer Kaytin Robinson, the murders are not particularly scary or extreme. Although the film is rated with R, it feels like it could have been PG-13.

But the less than super under sensitive, almost underThe quality of the battles is actually related to something that the film tries to achieve. “I know what you did last summer” revitalized the establishment of the 1997 version: Our decadent youth friends, out for a party night, hinder the buying department for the road that leads to a pickup striking through the waking line and then despite its best efforts to save the driver, down the truck down the mountain summit. Your crime makes a pact to do it as if you were never there.

What is different this time is that the film plays with the Slasher stuff than a whodunit. There is a conspiracy in connection with the first film: the murders brought the real estate values at the time, but now Southport has been transformed into the “Hamptons of the South” – so the forces that want to bury a memory of what happened 28 years ago. The new wealth is the real topic here; The characters are really punished for this. On July 4th at the weekend, Danica (Madelyn CLINE), an insanely justified princess with a full-time therapist and meditation regimen, has her bridal shower. Danica's beast, Ava (Chase Sui Wonder), is more important to her than her fiance Teddy, who is a hip-hop-abbie jerk (although Tyriq Withers makes him strangely personable). Danica and her friends are children of the privilege, but when this fateful night on the street, she unfolds from Stevie (Sarah Pidgeon), her former high school buddy, who fell out of favor with you when her father lost his money. This will go into everything.

Robinson is based on influences from “Scream” on “Bodies Bodies Bodies”, and she comes with a wildcard character-one omnisexual goth horror podcast host of the musician/model GabbriTte Bechtel. The film is based on our wish to see the murderer exposed, which decreases from the mythological level of so many Slasher films. (He doesn't wear a mask, but he is always in the shade.) I estimated that Robinson actually tried to make a real film out of all of this. Still, it's not a real film. It is a preparation that pretends.

This means that Robinson mixes three of the original stars into their schedule and they are not just the litter. Julie James, who is now a traumatized legal professor, returns Julie James, Freddie Prince Jr. plays Ray Bronson as a local bar owner who carries a breeding resentment around. Strangely relative skin, terrible intact.

Are we interested in one of the characters? Not a bit. It is not that the actors are bad; It is the case that the film format encourages us to see how they are killed – because nothing is at stake. The revelation of the identity of the murderer owes an obvious guilt to the “screaming” films and feels just as arbitrary, albeit less fun. If nothing else “I know what you did last summer”, the nostalgic promise of your title provides, but this is a qualified compliment. The film should have been mentioned: “I know what you saw in the Megaplex in the last century, and you still see it.”