SPOOKIES (1986) Horror Review

The criminally underrated obscure schlocky movie that delivers everything you wanted (and even that which you didn’t know you needed) out of a horror B-movie! After the guys at the Cinema Speak Podcast featured a micro-review of Spookies (1986), I knew right then and there that I needed to seek out this movie for both my viewing pleasure and as a horror academic. After seeing a countless number of horror movies, over the years, ranging from junk to masterpieces, I love when a horror movie can surprise me! And that is certainly the case with Spookies. But why?

Does this movie do anything particularly innovative? No.

Does it provide thoughtful commentary on the human condition? No.

Well then, it must deliver underrated performances or a compelling story? Not at all.

What it does provide is an hour and a half of truly mind-blowing creature effects and entertaining kills! Spookies packs a punch in all the right ways, delivering the perfect amount of spookiness one wants to see in a movie that’s ostensibly a surreal combination of Disney’s Haunted Mansion attraction, Evil Dead, Night of the Living Dead, and even The Isle of Dr. Moreau. You don’t watch this movie for the story, although it is loads of fun; you watch it for the sheer spectacle of a no-holds-barred love of the American horror film.

A 13-year-old boy runs from home because his parents forgot his birthday. Making his way through the woods, he encounters a drifter who is subsequently slashed to death. The boy stumbles upon an old mansion where a room is decorated for a birthday celebration that he (for some bizarro reason) thinks is for him. Like the call of a siren, a group of partiers also stumble across what they think is an abandoned mansion in the middle of nowhere. No one has any idea that it is home to a powerful sorcerer. With the help of other-worldly creatures and a werecat-like sidekick, the sorcerer terrifies and threatens the unwelcome house guests with one horror after another, as he needs sacrifices to give eternal life to his beautiful but dead bride.

Spookies was originally shot by two first-time filmmakers, friends and horror fans Thomas Doran and Brendan Faulkner in 1984, with additional scripting, directing, and editing by Eugenie “Genie” Joseph. Originally titled Twisted Souls, the first incarnation of this film was met with conflict and chaos on and off set. So the long and short of it is, the original director was fired from Twisted Souls, and the movie’s financier gave what had been shot over to Doran and Faulkner, both of whom had a vision of an ethereal movie with a monster a minute that takes place at a haunted mansion! And they couldn’t have asked for a more ideal location. The new directors brought their highly skilled crew to the John Jay Estate, located in Rye, New York. This colonial manner was once the home of one of America’s founding fathers, John Jay, who co-authored the Treaty Of Paris and the Federalist Papers, and was the first Chief Justice of the Supreme Court.

As you already know, the horror genre is filled with immense, and often underrated or undervalued talent, imagination, and sheer excellence in craftsmanship that work together to bring our nightmares to life. The proliferation of A and B horror movies in the 1980s resulted in an explosion of creativity on screen that made us laugh and scream. Rarely have I found myself genuinely surprised by a horror movie, but I absolutely loved this one for feeling fresh yet familiar! When I was asked by another podcaster, what about Cinema Speak’s review made me immediately seek it out, I responded with the description of the practical effects as being cheesy and charming as the commentary that inspired me to locate this obscure 1980s gem! Anytime someone highlights the practical effects in (any, but especially in) a horror movie, I am compelled to check it out.

So much of this movie’s plot makes absolutely zero sense, but it somehow pulls off the impossible by making that work! From a random, isolated thirteen-year-old boy running around the woods to celebrate his birthday to a group of college-aged young adults hanging out with an older couple to a cat-like love child, the movie defies all screenwriting logic. And you know what? It’s perfectly fine. Because where this movie excels is in the art of the horror experience! You get it all, unlikable characters that you cheer for when they meet their demise, a stupid kid that gets what he deserves, a tragic and twisted love story, and a haunted mansion in the middle of the woods surrounded by a graveyard. Throw in a heaping helping of high-budget ambition on a low-budget wallet, and you get this phantasmagorical movie that will make horror fans gleefully smile at the high degree of entertainment value with heart.

The movie’s technical achievement is outstanding! And not just the monster/creature effects, the cinematography and score are also quite good! While the performances are nothing to particularly write home about, they deliver what you want to see and experience in a schlocky horror movie. But the real stars of this movie are the monsters and ghouls created by the puppeteers, makeup artists, and other technicians. This movie could be read as a love letter to creature effects and to the work of Jack Pierce, Tom Savini, Rick Baker, Stan Winston, and other behind-the-scenes stars of the screen! Every time a new spooky monster was introduced, I was left simultaneously with my mouth agape and hugely smiling at the originality of each and every creature. Sure you have zombies, but the zombies were all designed with the utmost care. Ken Brilliant (The Lost World: Jurassic Park), John Dods (Monsters TV series), Ken Walker (Frankenhooker) and Jon Mathews (The Deadly Spawn) were on the special effects crew, and they did a great job despite the low budget. Nothing was left to chance or hurriedly constructed–well, except for maybe the grim reaper monster costume that is from Spirit Halloween.

Not only are the monsterous creations in the house, but they are outside as well! Literally everywhere you turn, there is a nightmarish entity just waiting to stalk and attack you. This addition of monsters in the yard offers up a clever dynamic that isn’t seen often in these type of horror movies. Usually the monsters or ghosts are contained within the walls of the house. Cinematically, what this does is convey that there is no escape from the claws, teeth, and tentacles of the monsters. This proliferation of monsters actually plays quite well! Clearly the directors knew how to handle this spectacularly because it could’ve so easily been disastrous. The film’s success is attributed to the directors’ talented crew and ability to execute a grand vision on a limited budget. But why does this film succeed at it’s poorly written plot? It wasn’t intended to tell a thoughtful or even coherent story; the intention was to immerse the audience into a surreal nightmarish world of monsters, magic, and mayhem. A world WITH DIMENSION that is so incredibly impressive and entertaining that we forgive the story for not making any sense, because we can see and love the hands of the artisans in each and every scene.

Spookies is one hot mess of a horror movie, but it could quite possibly be the most phenomenal hot mess horror movie ever! Don’t try to make sense of the plot; you will go crazy trying. In a manner of speaking, the movie has to be experienced rather than understood or passively watched. After reading this review, you may be temped to think of this as just another B-movie that only ardent horror fans whom refuse to acknowledge the accomplishments of contemporary horror cinema enjoy; but if you think that way, you will be doing yourself a grave disservice because this movie is fantastic! And at a quickly paced 85-minutes, you will be surprised how much you enjoy it and will want to watch it again to get a better look at the creature effects. This is definitely one of the most insane low-budget horror movies out there. Prepare to witness the monstrous special effects extravaganza of a group of clueless people running around being killed in glorious fashion. So do yourself a favor and gather a group of your friends together with some drinks and popcorn, and turn the volume way up to experience the horror gem that is Spookies (1986). 

Spookies is available on BluRay from Vinegar Syndrome or by more nefarious means. But if you choose the more nefarious route, you will deprive yourself of the behind the scenes documentary and special featurettes ONLY AVAILABLE on the BluRay.

Ryan teaches screenwriting and film studies at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

Follow him on Twitter: RLTerry1

“FREAKY” Horror Movie Review

Friday the 13th meets Freaky Friday in the no-holds-barred, feel good horror movie of the year! Universal Pictures has certainly gone back to its horror roots in 2020. In February, it gave us The Invisible Man and on Friday the 13th of November, it gives us FREAKY. Writer-director Christopher Landon, who gave us many horror movies including Happy Death Day and Disturbia, delivers a refreshing horror movie filled with inventive kills, a fun plot, and frisky characters. Everything that you love about 80s slashers is here in this love letter to the horror subgenre that still brings friends together today. Funny how horror movies–movies filled with that which would repulse us in real life–have the opposite effect of promoting inclusiveness and community. And it’s that sense of community that separates horror, specifically the slasher, from other film genres. There was a magic in the decade of 80s horror that continues to greatly influence content creators and fans today. Landon knew this, and channeled so much of what made the slasher take the world by storm into this movie. While FREAKY is an entertaining movie regardless, it will be the nods to movies such as Friday the 13th, Halloween, A Nightmare on Elm Street, and Child’s Play that will inevitably bring about the nostalgic thrill ride that Landon carefully crafted! Starting out as a masked killer, Vince Vaughn soon delivers the laughs as he captures every nuance of a mousey, bullied teenage girl trapped in a middle-aged man’s body. Likewise, Kathryn Newton perfectly captures a notorious slasher trapped inside a teenage girl’s body. Perhaps FREAKY is a little lite on the lessons learned from the body swap achieved through a Child’s Play-like mystic ritual, but Newton’s Millie does learn confidence. From the opening, that’s clearly an homage to the shock of SCREAM, through the hijinks and antics to the climactic ending, there is something for everyone in this movie–especially for geeky horror fiends like myself!

A mystical, ancient dagger causes a notorious serial killer to magically switch bodies with a 17-year-old girl. (IMDb)

That’s it. Simple, right? Some of the best movies of all time have simple plots and complex characters. Okay, so FREAKY may not have incredibly complex characters, but what it lacks in dimension, it makes up in a diverse cast plus doubling down on its identity as a genre film. Horror movies have long since been the most progressive of all the genres, and Landon keeps this value alive in his latest movie. Even before mainstream movies began including strong female characters, critiquing toxic jock culture, and including non-parodied LGBT+ characters, horror was a leader in inclusion and diversity. Has it too evolved over the years, of course; but my point is that it’s always been the leader. Using a reimagination of Freaky Friday as a slasher as the foundation, the movie is able to get incredibly creative with the conflict, character dynamics, and the kills! It is unlikely that any of these kills will make Top 10 lists one day, but they are mostly homages to past kills from tentpole horror movies. Is the plot predictable? Yes. But does that take away from the entertaining factor? Definitely not. This movie knows what it is, and delivers the laughs and squeamish winces in spades! Predictable as the plot may be, it is not without its unique twists and turns. I appreciate how those that are killed by either THE Blissfield Butcher or Murder Barbie are bullies in one way or another. Perhaps this movie doesn’t go very deep, but it’s certainly a cautionary tale on the deadly consequences of direct and indirect bullying and assault.

If you go into this movie wanting something completely new, then you’re going in with the wrong attitude. If you want to see a new twist on a foundational part of horror cinema, then you’ve come to the right movie! It’s been quite a while since there has been such an unapologetically fun movie in cinemas, and this is precisely the antidote to uplift the geeky horror spirit!

PS. Can we please stop using the Mystic Falls (Covington, GA) town square from Vampire Diaries in every movie that needs a small town? At least this time, I couldn’t make out the Mystic Grill in the background like I could in Doctor Sleep.

Ryan teaches screenwriting and American cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

Follow him on Twitter: RLTerry1

Sinister Summer 2020 “Misery” Retrospective

Do your ankles hurt just at the thought of this film??? Well, they should because this is one of the most unnerving horror movies of all time. In fact, each semester when I show my students the hobbling scene, they visibly cringe at that moment, and often remark that it was one of the most nightmarish scenes they’ve ever witnessed in a film. Based on the best-selling novel by Stephen King, Misery is widely regarded as one of the most terrifying psychological horror films ever. Directed by Rob Reiner, it stars then-newcomer Kathy Bates as Annie Wilkes, and playing opposite Kathy is James Caan as celebrity author Paul Sheldon. Just a quick note, the sultry Lauren Bacall also makes an appearance in this horror film as Sheldon’s agent. While this role is little more than a cameo, very few icons of the screen could’ve commanded it as beautifully as she did for those few scenes. Not only is this a brilliantly written and directed horror film, but Bates captivated us with her outstanding performance as the terrifying Annie Wilkes. In a quintessential Hitchcockian fashion, Rob Reiner crafts a phenomenal adaptation of the King novel that turns us into the prisoner of a disturbed and frightening fangirl. Annie convinced us that anyone who claims to be your No.1 fan may actually be your No.1 worst nightmare. Next time a nondescript motherly figure invites you to her picturesque cabin in Colorado, you may want to consider staying at the local Holiday Inn instead.

Clearly, Reiner studied Alfred Hitchcock’s methods for shooting a thriller. Evidence of this tone is witnessed in the framing, character blocking, and lingering shots. In fact, I argue that if you were to replace Reiner’s name with Hitchcock’s, it would be easy to convince (non cinephile’s) that it was in fact directed by the Master of Suspense. Reiner provides audiences with one of the most iconic horror films from the 90s that holds up incredibly well. Even with the typewriter, the sheer terror that Caan’s character of Paul Sheldon felt as he was kept prisoner by his sadistic No.1 fan Annie Wilkes (Bates). One of the biggest differences between the book and movie is the famous and painful hobbling scene. The book depicts Annie chopping off one of Paul’s feet versus the crippling of the ankles in the movie. I feel this was a good choice because the sledgehammer scene is far more painful than the former. I mean, every time I see a sledgehammer, I am reminded of this scene even to this day. Misery takes a minimalistic approach to the American horror film at a time that it was about being bigger and better. This approach was contrary to the trends of the day in that it felt far more intimate than other horror film contemporaries. As such, Reiner’s Misery is also largely takes place in one location (only flanked by quick moments in others). The combination of truly appalling, gut wrenching, darkly humorous, and sadistically amusing nature of this film enables it to hold up incredibly well and boasts one of the single most horrific scenes in horror cinema history.

Talk about a character with incredible depth! Annie Wilkes is one of those exemplary characters in horror that provides ample opportunity to apply critical lenses to analyze her psychology and sociology. Clearly she displays signs of psychopathy, but there is so much more to her character. And those layers are what makes her one of the most terrifying characters in horror film history. On the surface, she is a monster-like human; but beneath that sociopathic behavior, she is clearly suffering from severe mental disorders brought on by past trauma. Collectively, we can surmise that Annie’s past traumas left her feeling that everyone and everything is out to get her. Therefore, she runs a countryside farm in mountainous Colorado away from everyone. Her only interaction with outsiders is when she has to run to town to pickup food and supplies. In addition to her mental disorders, she also displays signs of agoraphobia. Although some of her mental disorders have direct impact on her violent nature, other disorders are largely indirectly responsible, such as her likely obsessive compulsive disorder (OCD). Evidence supporting this can be seen in her immaculately clean and organized house. Her OCD contributes significantly to her obsession with Paul Sheldon. The only joy in her life comes from the romance novels that she reads–a vicarious way to experience a full life–namely the Misery series by Paul Sheldon. Essentially, she is the perfect storm of psychological and emotional disorders all wrapped up in a an unassuming citizen of a small Colorado town. She could very well be your neighbor or one of your social media followers. Perhaps she is YOUR No.1 fan.

Although screenwriter William Goldman adds in a subplot of the town’s sheriff investigating the disappearance of Paul Sheldon, which works very well for the film even though it was not in the novel, the story is about two characters (representing two sides of the same coin) trapped in a room together, locked in a psycho-social battle of wills. Ostensibly, this story features two characters whom represent the creative mind of Stephen King during his real addiction to alcohol. I mention this real-life time of darkness in King’s life, not to glorify it because it helped inspire one of his greatest novels turned film, but it helps us to understand the depth and power of the story and characters. Both Sheldon and Wilkes have incredible chemistry because they represent real life villains in the life of King. King’s real battle between his healthy mind and drug-induced state parallels Paul Sheldon’s battle for freedom with Annie Wilkes standing in his way. In a most brilliant fashion, the sadistic former nurse Annie is the manifestation of how controlling a drug addiction can be–how it makes the user a prisoner of one’s own mind and body. This subplot is strategically woven into the main action plot then delivered through the character development and character-driven scenes in the story.

Annie is not completely evil. Early on, she shows us that she cares about victims as she could not have known that it was Paul Sheldon that she was rescuing from the car crash. Being his No.1 fan, as soon as she saw him, she knew precisely who he was and therefore her obsessive nature takes over. There is a moment that encapsulates one of the film’s themes that is often overlooked. Prior to caring for Paul, Annie takes his attache full of manuscripts and tucks it under her arm thus symbolizing that Paul’s work is more important than Paul’s life. But that doesn’t confirm her psychopathic nature. Even upon the more formal introduction of Annie, she shows us that she cares about Paul’s recovery as she crudely splints his broken legs. Why not take him to the hospital? Well, because she is his No.1 fan and no one can take care of him the way she can. She goes on to shower Paul with accolades. Claims to have read his Misery novels several times, even committing them to memory. Furthermore, she closely identifies with Misery Chastain (the series’ central character), so cares deeply what happens to her. Albeit being hospitalized in a stranger’s private residence is a little disconcerting, Paul grows to trust and even like Annie. He trusts her so much that he allows her to read the unpublished manuscript for the final Misery novel. And this is where things take a turn for the worse, Paul’s hospital is about to turn into a prison ran by the sinister warden from hell.

The plot of Misery works on multiple levels to generate the fear that it elicits from audiences. It’s a combination of exploring the effects of isolation on the mind and body, depicting various interpretations of captivity, and the overwhelming sense of dread that cruel intentions are lurking in the background of everything. And it’s not abstract feelings of isolation that Paul experiences, but he is literally isolated from the world due to being snowed in and downed phone lines. Despite being just outside of town, he may as well be on the moon. Without phone lines, Paul is cut off from anyone that is not Annie. Not only is Paul a prisoner of Annie’s house and his room (and eventually the bed specifically), but he is a psychological prisoner as well. He only has Annie to talk to, and he has to play her game or risk her violent mania. Failing to play her game, the role she would have him play, has grave consequences. And those grave consequences give way to the ominous sense of impending cruelty. Even before Annie completely loses it, Paul sees through the cracks in her homespun veneer, and what he sees terrifies him. I absolutely love Annie’s long drawn out monologue about the Kimberly Mines before she hobbles Paul. Paired with the creepy rendition of Moonlight Serenade, this scene plays out with methodic brilliance. The suspense of what is to come will make even the bravest crumble under the fear.

During Annie’s rage over the offensive swearing in the unpublished manuscript, she spills the hot soup on Paul and we begin to see the signs of her mania, twisted morals, paranoia, and negative effects of OCD. Obviously, we learn more about her psychopathy as the scenes unfold, but in retrospect, we witness the signs in big bold letters from this moment on. But she doesn’t continually behave in such a neurotic manner. She oscillates back and forth. This oscillation is an important aspect to her character because it drives up the tension and suspense because we don’t know when or where to expect her dangerous behavior. There are moments that we anticipate a violent outburst, but then she fools us by not delivering. By the same token, there are moments that we don’t expect it, and she terrifies us. The character trait of Annie’s that makes her one of the most terrifying in the Blockbuster of horror is her lack of feeling. Everything she does, she rationalizes without regard for quality of life or humankind. The very definition of sociopath.

The psycho-social disorders affecting the behavior and psychology of Annie are never confirmed, and don’t need to be. We don’t need to know precisely why or what causes Annie to behave the way she does. Because if we fully understood her, she would cease to be as nightmare-inducing as she is. It’s important that Annie Wilkes remain a type of Boogeyman. However, we can gather from the film that she suffers from a form schizotypal personality disorder, OCD (which I’ve mentioned), and meets most of the criteria of borderline personality disorder. A trifecta of disorders that creates the monster that we encounter in the film. She copes with these disorders by executing numerous defensive mechanisms including denial, projection, rationalization, regression, fantasy, and more. Whereas we often talk about her psychopathy and sociopathy, we often neglect to recognize her highly intelligent mind. Too bad her intelligence isn’t matched by empathy and and human kindness. Her intellect is observed through how she anticipates Paul’s movements and knowing when he’s been out of his room. And an intelligent villain is the most dangerous and unpredictable of all.

Aside from her disorders, unpredictable behavior, and lack of empathy, attributes that can be found in other horror villains, she stands out because she is a women. It’s her feminism that enables her to stand out against similar villains such as Norman Bates, Jack Torrance, Buffalo Bill and others. When we typically think of female characters or women in general (and I realize I am over-generalizing), we think of someone whom is kind, hospitable, nurturing, passive, and empathetic. Annie subverts those notions in so many ways, many of which have been outlined in this analysis. She makes Joan Crawford from Mommy Dearest look like Mrs. Brady. As out of control as Annie behaves, she is very much in control. She IS the one holding all the cards and calling the shots in this prison. While other characters (male or female) with similar disorders or backgrounds that parallel Annie’s have lost their minds, Annie knows precisely what she is doing, and is supremely strategic when she does it. We may be cheering when Paul finally kills her with the typewriter, in brilliant ironic fashion, but she is an incredibly strong female character who can hold her own, backs down to no one.

Not only is Misery one of the top psychological horror films ever made, but Annie is a noteworthy female character in the horror genre. While the final girls get most of the attention when we talk Women in Horror, it’s important to not forget that horror has given us terrifying women as well. Whereas so often the most interesting villains (or characters of opposition) get to be played by men, this film would not be as powerful is the roles were gender swapped. The fact that this psychopath is a women makes her all the more disturbing. She crafts such overwhelming sense of dread that is more frightening because we aren’t used to female characters as the main villains. Kathy Bates was a perfect choice for this role, and she has gone on to play all kinds of roles but the horror community gets extra excited when she plays a horror role. While horror doesn’t often win awards at the Oscars, Kathy Bates won the Academy Award for an actress in a leading role for her work in Misery.

Ryan teaches screenwriting and American cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

Follow him on Twitter: RLTerry1

Sinister Summer 2020 “I know What You Did Last Summer” Retrospective

Keep your eyes on the road or else you may find yourself running from a meathook-handed serial killer. It’s been 24 years since I Know What You Did Last Summer convinced us to pay attention to the roadway at night after our July 4th celebrations; interestingly, this is consistently one of those 90s horror movies that is either loved or despised. Won’t find much middle ground here. Personally, this ranks highly for me when talking 90s horror. While this movie has not seen the legacy and timeless influence that SCREAM has, there is still a lot to like if you are a slasher fan or simply enjoy the excellent chemistry in our lead ensemble cast in this incredibly fun slasher. For instance, we would not have Scary Movie if it wasn’t for I Know and Scream, we may not have the Hash Slinging Slasher from Spongebob Square Pants. Sure, if you think too much about the plot, it falls apart, but isn’t that the case with many slashers? Everything from the twists and turns, to the suspense, to the red herrings, a murderer screaming “you’ve got no place to hide,” not to mention the classic horror score, deliver a movie that is fun to watch, highly entertaining, and even rewatchable.

Last summer, a group of four partying teenagers accidentally strike a fisherman in the middle of the road. But instead of alerting the police, they dump his body in the ocean to cover up their crime as they all go their separate ways after high school. This summer, one of the friends receives a letter confronting them with the crime—I know what you did last summer. While tracking down the author of the letter, one of the secret-sharing group of friends is ironically run over by a man with a meat hook. The terror only increases from there, as the killer with the hook continues to stalk the rest of the friends.

While many horror movies take place around Halloween, other holidays have their own share including Black Christmas, My Bloody Valentine, and even the 4th of July, which brings us to day’s Sinister Summer selection! While I love to watch Jaws every July 4th, I also enjoy rewatching, the quintessential 90’s slasher I Know What You Did Last Summer. Written by Scream co-writer Kevin Williamson, directed by Jim Gillespie, starring a then-allstar cast including: Buffy the Vampire Slayer’s Sarah Michelle Gellar, Jennifer Love Hewitt, Freddie Prinze Junior, and Ryan Phillippe. Despite the R-rating, the violence is quite minimal in this movie, and that’s what I want to highlight here. One of the most telltale elements of most 80s/90s slashers is the entertaining, explicit, and even campy gore! Surprisingly, you won’t find a prolific amount of gore and violence in I Know but the implied violence works very well to drive up the tension and suspense as we try to solve the mystery of the identity of the hook-handed slasher before all the friends meet their demise.

While some horror movies are just plain scary, this one provides audiences with a story that is worth investing time and interest. There’s nothing supernatural about the scares in this movie, there’s nothing particularly grotesque either, and the atmosphere is not inordinately creepy or ominous. The real horror in I Know is not the meat-hooked slasher, but the helplessness of our central characters. Moreover, each of them feels completely helpless as they desperately try to figure out what’s going on and what to do about it. It’s one part serial killer and one part mystery. There is a ticking timebomb plot device employed in this movie, which translates to a race against the clock at the night of the 4th of July approaches. One by one, the slasher dressed in a rainslicker and fishing hat is picking off our high school friends as the anniversary of the inciting incident comes to pass. Often this movie gets compared to Scream and found to be wanting; however, this is an unfair comparison because there isn’t any movie (especially from this decade) that will be as good as Scream. Some people forget that Williamson wrote both Scream and IKWYDLS. But if this movie is looked at of its own accord and not in comparison with the decade-defining Scream, then it is able to be recognized as the classic that it actually is.

Believe it or not, there is a hidden strength in the story that rarely gets talked about. It’s a great psycho-social commentary on perception as reality and the cognitive elopement of a young adult. Moreover, I Know’s real genius is in how it confronts each of the lead cast with questions that all of us ask ourselves. It functions very well as a study of every individual teen’s mental state. Just like the characters in the movie, we (the audience) are wondering exactly who can be trusted. The central themes in this movie center in and around concepts such as: if you make a mistake, you should own up to it or else it will grow to haunt you; you will never forget a grave mistake you made, and should instead confess it; and if you now the right then to do, then you should do it. In summary, each of these posited ideas can be traced back to varying degrees of self-centeredness. Knowing who to trust, self-centeredness, and whether to stand up and fight or flee are all ideas that are such a part of growing up during the transition from teenager to young adult. Fortunately, this movie does a brilliant job of exploring these ideas through the vessel of a slasher. Whether in this movie or in real life, if you do not address your past, it will most certainly come back to haunt you. There is also a clear message of not driving while intoxicated; again, something that some young people struggle with and most assuredly encounter or perhaps are tempted to do.

It really doesn’t get anymore 90s than this movie. And perhaps that contributes to why it is looked at with more disdain than with fondness. While Scream takes place in the mid-90s, Williamson’s script and Wes Craven’s direction give it a timelessness that works even 24 years later. From the costume designs to soundtrack to the teenage angst, there is so much mid-90s in this movie. And unfortunately, much of that does not hold up; however, this movie should be seen as a product of its time. I mean, if for no other reason, we ALL know what you did last summer because it’s all over your social media. No longer does that accusation hold much threat.

Before you dismiss all of the plot and design elements and dialogue as unable to transcend the decades, I want to highlight a few elements that do. One of Jennifer Love Hewitt’s lines about her boyfriend Ray delivered while they are on the beach at night, “we can’t all sit in a Village coffee house and ramble esoterically on a laptop” could have very well come from a more recent slasher movie. The movie’s even ahead of its time in regards to the present socio-political climate in which we find ourselves, [referring to the slasher’s weapon] “the hook is really a phallic symbol, ultimately castrated.” And who doesn’t love the flagship, quotable line of “what are you waiting for, huh, what are you waiting for???” This line worked great then, and continues to hold up almost as well as “do you like scary movies?” Williamson certainly knows how to pen a line of dialogue that completely defines the movie.

When on one hand, it should be easy to dismiss this movie as a Scream ripoff, the movie saves itself from being completely dismissed because it knew precisely what it was, and unapologetically rocked it.

Ryan teaches screenwriting and American cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

Follow him on Twitter: RLTerry1