Tag Archives: Screen Gems

I KNOW WHAT YOU DID LAST SUMMER (2025) horror movie review

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“What are you waiting for, huh, what are you waiting for?” the hook-handed slicker-wearing slasher is back and knows what you did last summer in the reboot/sequel (or rebootquel) of the 1997 all-star classic slasher I Know What You Did Last Summer. While this throwback slasher is certainly entertaining, with just the right amount of nostalgic charm, the Jennifer Kaytlin Robinson written-directed addition to the series falters in making the bold choices needed to truly respect and adhere to the slasher formula, resulting in lower stakes and missed opportunities for horror excellence. No mistaking it, there is a lot to enjoy in 2025’s IKWYDLS, but what could’ve been perhaps as rewatchable as the original, fell victim to playing it too safe. However, this movie does offer a glimmer of hope, much like 2023’s Thanksgiving, that the slasher can be just as entertaining in the 2020s as it was in the 1980s and 90s.

When five friends inadvertently cause a deadly car accident, they cover up their involvement and make a pact to keep it a secret rather than face the consequences. One year later, the past comes back to haunt them as they learn someone knows what they did last summer. Stalked by a mysterious killer, they soon seek help from two survivors of the legendary Southport massacre of 1997.

Despite my negative criticism of two aspects to the storytelling and plotting thereof, which I cannot effectively analyze without going into spoilers, Robinson’s IKWYDLS succeeds where many (if not most) rebootquels fail when revisiting a classic movie (or franchise)–this is particularly true of horror movies. 2025’s IKWYDLS leans into the original (and even 1998 sequel) just enough to establish meaningful narrative and setting connections but still expresses a new story. Other than a glaring missed checkbox and another more nuanced narrative element perpetuating a toxicity found in modern media, this movie checks most of the boxes for a classic slasher and throwback-style horror movie without it feeling lazy or uninspired. Instead of repeatedly hitting us over the head with “hey remember this from the original,” it strategically places these homages and references in places that drive the main story forward.

Even the most memorable line from the original (which was actually a fan-suggested change that was initially met with opposition yet became THE line and moment most remembered from the original movie), “what are you waiting for, huh, what are you waiting for?,” was used incredibly well in this movie. For those that, like me, may watch the original IKWYDLS every Fourth of July, there are other nods to the original that are lurking in the background or shadows, but will add a little extra enjoyment in watching 2025’s IKWYDLS.

Three of the central characters from the original movie and one from the 1998 sequel do make appearances in this entry into the series. Two are rather signifiant, whilst the two others are little more than cameos. Still, getting to see them reprise their roles to varying degrees was huge in connecting the events of this film to the events of 1997. The connection is somewhat meta in that, among other dynamics, there is an obnoxious true crime podcaster that is traveling to Southport to cover the 1997 killing spree by the hook-handed slicker-wearing slasher in the quaint fishing village near Wilmington, NC (in reality, much of the original movie was filmed in Wilmington). But it’d be inaccurate to characterize this movie’s connection to the original being completely meta. It’s a nice balance between staying true to the movie world but connecting it to our real world. 2025’s IKWYDLS parallels characters to the original, but in ways that work for this story and not merely as throwbacks to the original.

Avoiding spoilers, I want to touch on the three negative criticisms I have of this movie, as best as possible. Firstly, there is a bold choice made by past slashers that is ultimately non-existent in this movie. The whole time, I am waiting for that moment–to truly drive up the stakes and ratchet up the suspense–and just when I think Robinson is going to play it too safe, she delivers it–or so I think. Then, she undoes the bold choice that I felt she made in order to more closely follow the tried and true slasher formula THAT WORKS (if the formula works, don’t change it). This move is necessary for a variety of reasons that I cannot get into without giving too much away, and Robinson fails to deliver. Consequently, this movie also devalues and even ignores a key character type that is (again) a crucial component of the slasher formula. Secondly, Robinson’s screenplay perpetuates a dangerous stereotype in contemporary media that not only works against crafting a realistic portrait of a collection of characters but also lowers the stakes because there lacks reasonable emotive and social connections. Even slashers have both redeeming and unredeeming characters.

Lastly, Robinson clearly panders to GenZ. One thing Kevin Williamson’s Scream, I Know What You Did Last Summer, and The Faculty taught us is that you can write a movie that appeals to young people without pandering to them. Taking notes from that, screenwriters can write something aimed at 17–24 year-olds that, those of us that are older, can still enjoy watching as well.

If you are a slasher fan, then I still recommend watching 2025’s I Know What You Did Last Summer, because it feels like a summer movie and reminds us of why the slasher is such a tentpole in the history of horror movies.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk “where you can join the cinematic conversations frame by frame each week.” Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

HEART EYES horror movie review

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Slashtastic! Heart Eyes is the don’t miss holiday horror movie this Valentine’s season. Whether you’re a romantic or a cynic, there is something in here for everyone. The blend of romance and horror will, like Cupid’s arrow, find its way to the heart of slasher fans. Move over Coal Miner to make room for a new killer on the Valentine’s scene. Directed by CollegeHumor’s Josh Ruben and written by Christopher Landon (Happy Death Day), Michael Kennedy (Freaky), and Phillip Murphy (Hitman’s Wife’s Bodyguard), Heart Eyes seamlessly blends cliches from both romcoms and slashers, resulting in a movie that is sure to find its way onto rewatch lists every Valentine’s Day.

A masked maniac with glowing, red heart-shaped eyes returns every Valentine’s Day to terrorize unsuspecting couples.

The screenwriting is efficient and effective, and wastes no time in drawing audiences into this properly paced story. The kills are over-the-top–almost campy–and the romanic comedy bits are cheesy–in all the best ways possible. But this movie isn’t just about thrills and kills, because the central characters are surprisingly well-developed, and you’ll be rooting for their survival. So sure, some of the plot beats are formulaic, but this is a formula that has worked for over four decades, and demonstrates that genre movies have a timeless quality–a charm–about them that keeps us coming back for more screams.

Much like we saw with 2023’s Thanksgiving, Heart Eyes does the slasher right. Not only does it check off all the boxes for a classically written slasher, it also checks off boxes for a romantic comedy. Perhaps the movie leans more into its horror genes than it does its romcom genes, but it still strikes a well balanced genetic sequence for your entertainment pleasure. Starting with a classic romantic comedy opening, but as soon as it steeps for just the right amount of time, then upending it with a campy and gruesome slasher sequence, informs audiences precisely that for which they are in store for the rest of the movie. It sets the tone right up front, so you’re willing to buy everything else the movie throws at you.

The plotting is both sound as does the slasher reveal right. Yes, in hind sight you can make the observations that Heart Eyes took from this or that slasher, but that’s the beauty–it follows the formula but still keeps it engaging. Never once did I feel that it failed to keep my interest–even when I called the identity of HEK. I liked that this movie felt like classic slasher. We get it all: a big event that kicks everything into gear, a central character with a well-defined external goal driven by an internal need, and a character of opposition. This movie benefits from solid screenwriting and a director that seeks to entertain first and underscores the superstructure with thoughtful material for conversations about romance and relationships in the subtext. The stakes are high: survival! And throughout the movie, the stakes are raised, reminding us that no one is safe and even our final girl can be injured or killed.

Both of our central characters are well-developed. Olivia Holt’s Ally and Mason Gooding’s Jay are relatable and compelling. Are the characters particularly deep? No. But are they sufficiently developed to give these slasher characters human dimension? Yes. Both are strong and vulnerable. Furthermore, Ally feels like an “everyman” that is thrown into a situation in way over her head, but the setup is quite believable. I also like comedic irony in that she works for a jewelry company but has grown disillusioned by romance after being dumped by her boyfriend. Perhaps you work for a company that advocates for or sells something of which you are now cynical. Alternatively, Jay may come off overly optimistic and idealistic, but through that, we also learn that he as fears and vulnerabilities too. My point is, the principle players in this slasher are written with dimension, so you are rooting for their survival.

The most memorable slashers have a trademark mask, weapon, or sometimes both, which is the case with the Heart Eyes Killer (HEK). I’ve no doubt that HEK will find a place amongst the pantheon of slasher icons. After a long time of no new entries into that circle, we had John Carver added in 2023 and now HEK. Heart Eyes is a horror movie made by slasher fans for slasher fans, and its refreshing to see that the horror staple is still alive and well. Through movies like Thanksgiving and Heart Eyes, modern audiences are reminded that genre movies can be just as entertaining or thoughtful as the arthouse movies that are slowly becoming the mainstream. Funny–the movies that used to be the mainstream (i.e. slashers) are slowly finding their way into the arthouse cinemas, while the prestige pictures that used to be confined to the arthouse cinemas are slowly becoming the new mainstream.

Thematically, the movie explores disillusionment in and with romance. From an opening scene that underscores the realization that images captured by a camera are not always reflexive of reality to the cynicism that can grow out of broken relationships to accepting that an idyllic romance may just be possible, it’s all in this movie. Through the apparatus of the slasher, the writers and director are able to explore love and romance in a variety of ways that are rather poignant.

If your idea of a Valentine’s date is dinner followed by a scary movie, then this movie fits the bill! It works as both. Happy Valentine’s Day!

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

“The Grudge” (2020) Horror Movie Mini Review

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A begrudging start to 2020 horror. The Grudge is the second American remake of the 2002 Japanese movie by the same name, written and directed by Nicholas Pesce, known for Piercing and The Eyes of My Mother. Before I get into why this movie is simply not good, I want to point out what it did well, never mind that what it succeeded at couldn’t fill a post-it. What to make of this hot mess of a remake? From what I can tell, Pesce attempted to apply his brand of filmmaking–that has been championed by critics–to this post-modern horror staple property. Unfortunately, most of the movie was not executed well. With a couple of exceptions that I want to highlight. (1) Casting and (2) Atmosphere that were thoughtful.

The name Lin Shaye is no stranger to horror fans. And it’s not just because she is Producer Robert Shaye’s (of A Nightmare on Elm Street fame) sister, but she is a true horror queen! Appearing in dozens of horror movies, she is an utter delight in everything that she is in. She can be courageous and comforting (Insidious), hilariously campy (2001 Maniacs), or nightmarishly creepy (The Grudge). She delivered a fantastic performance in last year’s Room for Rent as well (which made my Top 10 Horror movies of 2019 list). She is little more than a bit part in The Grudge but she is truly frightening and unsettling. Completely committed to the character amidst a poorly written movie, she does everything in her power to save this ill-conceived remake. Even though I imagine she is aware of how bad this movie it, she gives it her all because she simply loves horror!

Secondly, the atmosphere in this movie actually works well. Perhaps this bright spot gets lost in the poor direction and abominable screenplay, but the production design, lighting, sound, and cinematography that creates the unnerving settings works very well. We spend most of our time in a few locations, so a lot of thought was put into the design of these settings. Not to the extent that any of these locations become characters in and of themselves, but the atmosphere of dread is something positive that this movie has it offer. Surprisingly, the premise of the movie isn’t bad; unfortunately, the execution is where things went array. Pesce appears to have strived for an anthological structure to the IP, but it just felt like a convoluted diegetic mess of timelines. Had he taken a page out of the Michael Dougherty handbook (Trick R Treat), then perhaps this approach would have worked much better.

The end result of the poor writing and direction is a boring, predictable horror movie. A most unfortunate way to start 2020.

Ryan teaches screenwriting 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! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Searching” Spoiler-Free Full Review

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Remarkably spellbinding! Searching takes the concept of “screen life” movies to impeccable levels. Although the concept of a film relying entirely on computer screens is not new, this is the first time that it has been executed perfectly. The first wide-release film to take this approach was 2015’s Unfriended, and it was quite the pioneer in its approach to essentially adapting Agatha Christie’s And Then There Were None, with the end result being pretty good. The following films to take the approach, including the more recent Unfriended: Dark Web, failed to tell a coherent story. Learning from the successes and failures of this cinematic concept of the past “computer screen” films, writer-director Aneesh Chaganty, along with co-writer/producer Sev Ohanian, crafts a suspenseful thriller that truly understands the power of the internet and how it enables and affects our actions. There is genuine emotion felt in this film. You will truly care about the lead characters and remain hooked for the entire film. Chaganty seems to have taken a page right out of the Alfred Hitchcock playbook for suspenseful storytelling that relies upon character development, twists of the everyday, and only use on-screen violence or graphic details to supplement the story. This tension-filled voyeuristic crime drama is successfully created–not through viruses, the supernatural, dark web or illegal activities–but through the mundane things we do everyday. Perhaps this film uses modern technologies to tell the story, but the soul of this film is brilliant old-fashioned suspense. And that solid foundation is why this film will do incredibly well.

Following the tragic death of wife and mother Pam, David (John Cho) and his daughter Margot are forced to move on with their lives, doing their best to cope with the loss of their loved one. Over the couple of years since his wife’s death, David and his daughter have drifted apart but still maintain a relationship. Loss of a mother and wife has a major impact upon a family. After Margot fails to return home after a study group session at a classmate’s house and repeated unreturned texts and phone calls, David fears that something terrible has happened to his daughter. When another classmate informs David that Margot never showed for a trip on which she was invited, David reports her as missing to the police. Detective Vick (Debra Messing) heads up the investigation into the whereabouts of Margot that immediately leads nowhere. Lead after lead leads the investigation to believe that Margot may have simply ran away. Convinced that his daughter did not run away, because of so many elements of the investigation not adding up, David turns to the one piece of evidence that was initially overlooked by the police, Margot’s laptop. Following the cookie crumbs left in the seemingly mundane websites visited by Margot, David begins to connect the dots that will hopefully lead him to what happened to his daughter.

No spoilers here. In fact, I urge those who have seen it to NOT spoil it for everyone else. In a manner of speaking, this film feels very much like Psycho must’ve felt when it was released. Hitchcock mandated that no one be allowed to enter the auditorium after the movie began; and furthermore, he insisted on an adherence to strict show times. In fact, much of how our modern cineplexes are run today are a product, in part, by the release of Psycho. The closest I will get to spoiling is informing you that there is an amazing twist ending. Just when you think the story is coming to a close, watch out! Taking what Unfriended (the original, not crappy indirect sequel) did well, and learning from what Dark Web failed to do, Chaganty’s Searching provides audiences with a fantastic experience visually, and anchors the plot with strategic, effective emotional beats.

The story is just as much emotional as it is visual. Possibly even more emotionally and psychologically-driven than the images the frame can capture. Whereas other films that rely upon what we do on our computers fail to have genuine, authentic characters, Searching depicts everyday, real life people doing what millions of others do. How often have many of us been able to talk to complete strangers about something that we are uncomfortable talking to our family or closest friends about? That is precisely what Margot does. Providing additional commentary on the mediation of society through digital media, Chaganty highlights our digital selves versus our actual selves. This is evident in the healthy social life Margot was leading her dad to believe she was experiencing; when in actuality, she was quite alone and simply focussed on school work and little else. David realizes that he didn’t know his daughter at all.

Previous “computer screen” concept movies pretty much involved never leaving the primary computer screen–easily becoming visually exhausting. Chaganty’s thriller chooses to switch from iMac, to iPhone, to PC (with Windows XP), to online news footage. These changes prohibit the setting from ever becoming too familiar or boring. The minor changes keep the senses heightened. Hitchcock earned his moniker by consistently delivering suspenseful cinematic excellence; and this suspense was executed with visual precision coupled with strong emotion. Chaganty very much patterns his modern suspenseful crime drama after the exemplary work of Hitchcock. Different from previous films using real-time on a computer to allow the plot to unfold, this film takes place over a week–closer to more traditional “movie time.” One may be inclined to conclude that the tension feel less intense because of not watching the plot unfold in real time, but that is definitely not true with Searching.

From the moment Margot’s missed facetime and phone calls fail to waken her father to the heart-pounding conclusion, the tension is in high gear. Hitchcock describes suspense as the having to do with the audience having sympathy for the characters and an intense need for something dramatic or shocking to happen. While the audience does not want something bad to happen to the lead characters, they are still at the movie in hopes that something terrible happens. Ironic, isn’t’ it? Much like Hitch delivered suspense through information, Chaganty does the very much the same with Searching. Another way Hitch delivered and ensured a suspenseful atmosphere in his films was having two important events happing concurrently. With David and Vick very much leading their own investigations respectively, we often experience this dichotomy. And Hitch is certainly famous for his twits, and this film contains some fantastic red herrings and twists to the tension-filled plot.

Presently in a limited release, with the film opening everywhere August 31st, Searching is a phenomenal whodunit build upon effective suspense and visceral tension. You will be glued to the plot and feel the emotional rollercoaster experienced by David as he searches for his daughter. Chaganty has proven himself through demonstrable evidence that he understands suspenseful storytelling. Because the film exists in the everyday world we live in, it may get you thinking twice about the degree to which your own life is mediated by technology. The social commentary in the movie also reminds us to be ever vigilant who we correspond with through live video and chats. For you never know to whim you are really speaking.

If you’ve enjoyed this article, be sure to check out all my past ones! You can search for a film by title to see if I’ve written on it. Don’t forget to follow my blog by clicking the blue button in the upper left!

“Don’t Breathe” movie review

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DontBreatheDon’t visit Detroit. Don’t Breathe is a brilliant horror film that will keep your adrenaline pumping and keep you guessing from the beginning of Act II to the final cut to black. Crossing into different sub-genres of horror, this movie will capture your attention every moment and catch you off guard every chance it gets. Although there is no scientific evidence for the collective belief that when one sense is removed that the others take over, it does make for a fantastic plot device that will greatly heighten your own senses while watching this efficiently ruthless movie. This is definitely a horror film to experience on the big screen–don’t wait for Prime, Play, RedBox, or HBONow. The most terrifying element of this movie is the feeling of being trapped in the dark. Just as the characters are experiencing the labyrinth that is the home of the intended robbery victim, you will also feel helpless as the terror unfolds in front of your eyes and you have nowhere to hide. Going into this film, you may think it simply a new twist on the home invasion sub-genre of horror, but you will soon find out that there is so much more to this movie than meets the eye. While some films–horror or not–are often guilty of wasting time, especially in the first acts respectively, Sony-Screen Gems’ Don’t Breath is a cinematic claustrophobic rollercoaster that includes one terrifying turn after another. In other news, if you’re looking to buy a house, this film includes some great shots of your next neighborhood in Detroit.

With all their friends gone, three young people are desperately trying to leave the city they once called home. Turning to petty theft and larceny, Money (Daniel Zovatto), Rocky (Jane Levy), and Alex (Dylan Minnette) receive a tip from a local crime boss that there is a house with enough money to get them all out the city. After learning that the home is inhabited by a blind old man (Stephen Lang), the small band of thieves conclude that this will be an easy gig. With the aid of security codes and keys from Alex’s father’s security business, who manages the few inhabited homes in Detroit, Alex, Money, and Rocky plan the heist. After the robbery goes 180 degrees in the opposite direction, this supposedly easy target now has them trapped. And a terrifying realization will have them holding their breath as to not get caught or worse. Two parts home invasion, one part heist, and three parts horror, this terrifying movie will have you on the edge of your seat.

For the sake of not giving anything away in the movie, I am going to keep this review on the shorter side. Sometimes the best horror movies are those that have a very simple premise. And this is definitely one of those. The heist genre is one of the oldest in the cinematic handbook. After all The Great Train Robbery (1903) was the first American film to pioneer composite editing, on-location shooting, and dynamic camera movement. Although not the very first motion picture, it is among the first and considered by many to be the first commercially successful motion picture. Early on in the dawn of commercial cinema, horror was quite prominent, thanks to Carl Laemmle who founded Universal Pictures. Don’t Breathe includes elements from many different films in the official sub-genres of horror; but to explore each of those would give away some terrifyingly morbid plot twists in the movie. The point is, this film borrows from both horror and non-horror films that helped to forge the foundation of commercially successful cinema. It’s of no surprise, after watching it, that is will likely do very well this weekend. Given that it has an August release date, I was concerned that–as good as it looked in the trailers–that it would not play out very well because the best horror films, this time of year, are released in latter September and October to make way for Halloween! But, I was totally wrong; I thoroughly enjoyed the experience. Speaking of Halloween, this movie would make an absolutely perfect addition to Universal’s Halloween Horror Nights next year if they can secure the rights from Sony Pictures.

Regarding the location of the film, this is just the latest in horror films (as well as other genres) to use the motor city as the backdrop for a violent story. As a producer, myself, I realize that part of the draw to that location is the simple fact that it is incredibly cheap to shoot there. The other part is that it effortlessly sets up a feeling of uneasiness from an aerial shot of the city or suburbs. Not entirely sure that having horror films and other violent movies set in your city, now in ruins, will do much for inspiring entrepreneurs or other professionals to relocate; but it does showcase the city as a welcoming place for filmmakers who seek to pursue their respective dreams of success at visual storytelling. Ghost towns have often been used in westerns, horror, and treasure hunt movies; and without having to go to a foreign country, there really is a perfect modern ghost town right here in the US. Whether it needs to serve as a location that symbolizes greatness in ruins or to instantly prompt apprehension or unbalance, it is a diverse landscape upon which to build a story.

Just when you think the film is over, it will throw you for a loop! Looking for a fantastic film to watch on a date or with your friends this weekend, then I highly recommend Don’t Breathe. It’s the perfect film to usher in this most macabre time of year. Not defaulting to gore and jump scares, this movie is a beautifully and meticulously crafted work of cinema that will genuinely cause your blood to race and keep your senses on edge.