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Clearly initially conceived as a straight remake but eventually altered into a legacy sequel to cash-in on a current trend, 'I Know What You Did Last Summer (2025)' often feels like a retread that's simply going through the motions. Unable to decide if it wants to be a genuine sequel or a soft reboot, the flick feels stuck between a rock and a hard place and is typically unable to form a compelling identity of its own. In a case of repeated history, it's clearly very inspired by 'Scream (2022)', and it doesn't even have the original's excuse of being written prior to the release of Wes Craven's superior slasher. That isn't necessarily a bad thing, but it does feel a bit outdated and unoriginal because of it. Frankly, a lot of the flick is just really underwhelming. The way it twists its inciting incident is theoretically interesting, but it actually reduces culpability for the central characters and thus also reduces the potency of the central theme. The cover-up it inspires feels unnecessary, and the guilt that gnaws at the heroes feels less relevant to the situation they find themselves in a year later (the original is shaded in complex morals which see the actions of the villain be understandable, even if two wrongs obviously don't make a right and the punishment doesn't really fit the crime, but here were never even contemplating siding with the hook-wielding baddie). Some of the story's subversions are far more enjoyable, though. While I don't necessarily buy all of them (especially since some earlier scenes seem to contradict them somewhat), I genuinely love how bold they are and truly appreciate the way in which the filmmakers don't allow their natural reverence for the first film to cloud their judgement. A lot of creatives (or, rather, executives) wouldn't be brave enough to do some of this stuff. This - combined with director Jennifer Kaytin Robinson's generic yet genuine prowess when it comes to crafting suspense and kill sequences - is what makes me feel slightly more generous towards the overall affair. As flawed as it is, I can't help but be somewhat smitten by its third-act revelations. Freddie Prinze Jr. And Jennifer Love Hewitt don't get much to do (the former gets more), but they're both pretty solid and it's nice to see them back on the big screen. The new cast are decent, too, led by Chase Sui Wonders who grounds the affair with a dependable performance that mixes vulnerability with capability in a satisfying way. The crisp, modern cinematography frames the often moody narrative nicely, and the set-pieces are as appropriately squishy as they are expectedly tense. It's a pretty dependable effort all around, to be fair, even if it isn't exactly inspired or thematically deep. It doesn't really do anything to make it feel like a necessary extension to its dormant franchise, nor to make it stand out amidst similar fare from recent years. It isn't bad, but it also isn't great. It certainly isn't as good as 'I Know What You Did Last Summer (1997)', which doesn't quite live up to the pulpy glee of its title in the first place. It's a solid effort that's enjoyably bold, but only moderately enjoyable.

'Speed 2: Cruise Control (1997)' has the reputation of being one of the worst films - or, at least, sequels - ever made. While it's true that it pales in comparison to its predecessor, people who make that claim are simply full of ship. The film isn't exactly good, but it also genuinely isn't bad. After its fairly slow first movement, it becomes an intermittently exciting and mostly rather enjoyable vehicular actioner. In fact, its third act is honestly pretty fun, as suspenseful and compelling as it is ridiculous and over-the-top. Jason Patric is a pretty bland stand-in for Keanu Reeves (who, to be fair, isn't exactly the most dynamic of performers himself), but the supporting cast - including Temuera Morrison, Willem Dafoe and, of course, Sandra Bullock - are energetic and charming enough to keep this afloat for its entire duration. It isn't a movie I'd especially recommend (there are many much more entertaining action flicks out there, after all), but it also doesn't deserve the amount of hate it gets. It's mediocre, not awful. Perhaps my lowered expectations are to blame for my minor fondness for it, and you'll likely be very disappointed if you're somehow expecting something as propulsive and high-octane as 'Speed (1994)', but I can't bring myself to condemn it on any real level. It's a perfectly serviceable effort that may not be entirely shipshape, but is certainly see-worthy.

'The Decoy Bride (2011)', despite the best and fairly admirable efforts of Kelly Macdonald and David Tennant (a Scottish actor pretending to be an English man whose fiancée is played by an English actor pretending to be an American woman and whose wife is played by a Scottish actor pretending to be convinced by said English actor's American accent), is one of those movies that's both fine and not fine all at once. Apparently made for under half of the initially projected cost of the screenplay, this very classic yet very mediocre rom-com struggles with a lacklustre script and a lack of chemistry between its characters. The actors themselves have nice enough interplay, but the writing really underserves them. Nowhere is this more evident in the lightning-fast switch from the central couple hating - or, at least, being actively mean to - each other to maybe perhaps almost loving each other - or, at least, seemingly like their accidental union may not be a mistake after all. It's entirely unbelievable, and the picture struggles to mine any genuine comedy from its classic mix-up concept. It isn't all that funny and it isn't all that romantic, but it is consistently watchable and will likely scratch an itch for those who enjoy the formula of the genre. It's intermittently enjoyable, and the actors are all doing their best with the material. It's also nice to see Furio from The 'Sopranos (1999 - 2007)' in a less violent, albeit still creepy, role. It truly isn't bad, but I wouldn't really recommend it unless you're a die-hard fan of either its core cast or its wider genre. There's not much else to say, really.