“I Know What You Did Last Summer”: A Slasher Reboot Lacking Purpose

July 19, 20254 min read

Amid a summer filled with reboots, the revival of I Know What You Did Last Summer comes as no surprise. The original film, released in 1997, was a key player in the slasher resurgence of the late ’90s. Just like any iconic horror villain, it was only a matter of time before the franchise returned for another round of chaos.

Set 27 years after the original events, where a group of teens were stalked by a vengeful fisherman seeking retribution for a tragic hit-and-run, this reboot returns to Southport. Viewers are introduced to affluent couple Danica (Madelyn Cline) and Teddy (Tyriq Withers) as they celebrate their engagement with Danica’s best friend Ava (Chase Sui Wonders), her ex-boyfriend Milo (Jonah Hauer-King), and their estranged friend Stevie (Sarah Pidgeon).

True to form, a joyride ends catastrophically, resulting in another driver plummeting off a cliff. Ignoring Ava’s objections, the group decides to flee the scene and use their connections to bury the incident. However, one year later, each of them receives ominous messages stating, “I know what you did last summer.” Fearing they may be targeted by a copycat killer, they reach out to the survivors of the original events (played by Jennifer Love Hewitt and Freddie Prinze Jr.) in hopes of escaping their fate.

‘I Know What You Did Last Summer’. CREDIT: Sony Pictures

What remains perplexing is the film’s very existence. While the original has garnered a cult following, it’s hardly considered a cinematic masterpiece; its legacy primarily rides on the coattails of Scream‘s success. Wes Craven’s 1996 classic infused humor, intelligence, and self-awareness into the horror genre, giving modern reboots something to strive for. In comparison, I Know What You Did Last Summer lacks any real depth.

The 2025 edition feels like a tiresome rehash of its predecessor with minimal updates meant to give it a modern twist. There’s a true crime podcaster in the mix, a half-hearted critique of social privilege, and the dialogue reads like a bot trying to mimic teenage speak. The villain may have a few new weapons, but that’s where the innovation stops.

Unfortunately, the new characters also fall flat. Danica comes across as a spoiled diva, reminiscent of Sarah Michelle Gellar’s Helen Shivers (who makes a cameo despite being murdered in the original), while Ava is supposedly the ‘Final Girl’ but contributes little to the plot development. At certain points, viewers might even find themselves cheering for the antagonist.

As for the legacy characters, Hewitt and Prinze don’t fare any better. They appear as a divorced couple still reeling from past trauma, but their storyline offers little excitement or closure, leaving a rather somber impression.

While our collective appetite for gore has increased over the years, the murders here are both bloodier and devoid of tension or originality. For a horror film, it fails to elicit genuine fear. There’s a plot twist, but it’s predictable enough that most attentive viewers will see it coming, leaving more questions than answers. This by-the-numbers slasher film wouldn’t have stood up to scrutiny decades ago and is even less compelling in an era where elevated horror has become the standard.