I know What You did Last Summer

A Nostalgic Slasher That Knows Its Place

“I Know What You Did Last Summer,” directed by Jennifer Kaytin Robinson, returns—not to reinvent horror, but to remind us of the bloody thrill of secrets we never outgrow.

This modern horror throwback delivers some damn good kill scenes. Teenage nostalgia isn’t just a feeling—it’s a hook twisted into the past.

The formula closely mirrors the 1997 original, with an overdose of ridiculous, over-the-top dialogue, and some brutal slasher moments—two scenes, in particular, made me want to jump out of my seat.

A cop-driven subplot invites viewers to play detective and uncover the new killer’s identity. It’s not groundbreaking, but it keeps you watching, and invites you to sleuth along with a detail-hungry gaze.

This is a film about how bad decisions can haunt you, what trauma can do and how the same trauma can reshape people differently. But don’t go in expecting deep psychological layers.

It’s a ‘90s-style slasher revival with a modern sheen, made with heart for those who were teenagers back then—and maybe entertaining enough for newer generations curious about what their older siblings were watching.

The Hook is still sharp, and the premise holds some intrigue, but if you’re expecting a revolutionary horror film, you’ll likely be disappointed. It needs to be viewed for what it is: a nostalgic callback, best enjoyed with popcorn, dim lighting, and lowered expectations.

That said, it’s not without flaws. The first act drags its feet a little too long, and the pacing takes time to find its rhythm.

The second half offers more engaging horror sequences—bloodier, more energetic—but by the final act, it all starts to feel a little too familiar, a little too safe.

For those who know “I Know What You Did Last Summer” and “I Still Know What You Did Last Summer,” there’s an eerie character-thematic echo here—something I won’t spoil—that adds a quiet sense of unease.

It’s a satisfying (if not entirely surprising) connection that brings the new instalment (first of two, perhaps three, upcoming movies) to a shocking twist, and taps into that lingering sense of dread I always associated with this franchise.

Returning to Southport is a treat, though the seaside town has changed. In an era of cancel culture and sanitized narratives, the past refuses to stay buried. Secrets resurface.

Stories repeat themselves—and so does “IKWYDLAS,” in both tone and tragedy. But the question remains: at what cost should the truth be uncovered?

The return of Jennifer Love Hewitt and Freddie Prinze Jr. will no doubt please long-time fans (like myself), even if their performances sometimes feel emotionally flat or forced.

Still, their presence adds weight, and revisiting iconic locations—now glossier, more upscale—heightens the atmosphere. A few scenes are recreated nearly shot-for-shot, giving a gorier perspective—an evolved take on the soft, stylized slasher kills of the past.

The new lead characters, unfortunately, lack depth. Their recklessness sometimes tips into parody, undermining the stakes in otherwise tense scenes.

This isn’t prestige horror. But if you know what you’re getting into—car accident, dumb laughs, buried secrets, and an unknown killer with a hook—you’ll definitely have a fun ride around Southport.