Film

I Still Know What You Did Last Summer

Name: I Still Know What You Did Last Summer
Genre: Horror, Mystery, Thriller
Released: 1998
Cast: Jennifer Love Hewitt, Freddie Prinze Jr., Matthew Settle, Brandy Norwood, Mekhi Phifer

A slasher sequel that trades small-town paranoia for tropical isolation. Julie James heads to the Bahamas hoping to escape her past, only to discover the Fisherman has followed her. It's a straightforward revenge thriller with decent kills, genuine scares in bursts, and the kind of late-90s teen energy that either clicks with you or doesn't. For fans of the first film or anyone who likes their horror with a summer-movie gloss.

TMDb rating

2.7

Should you watch it?

Watch it if you enjoy glossy, sun-drenched slashers where the suspense is about who to trust as much as who is holding the knife, and a soapy romance is part of the appeal.

Skip it if you want a tight, scary thriller; this one is frothy, leans on teen melodrama and coastal scenery, and its scares are fairly conventional.

What it asks of you: Expect about a hundred minutes of sunny lounging broken by sudden loud jolts, and some attention to who knows what.

Not sure? Find tonight's pick in a minute.

If you liked this

I Know What You Did Last Summer1997

The original that started it all. Establishes the Fisherman, the guilt, and the core dynamic between Julie and her friends. Essential viewing if you haven't seen it, and a perfect refresh if you have.

But It's a 1997 slasher with all the trappings—shaky premise, some dated acting beats, teen melodrama that can feel overwrought by modern standards.

Scream 21997

Another 1998 sequel that understood the assignment: escalate the kills, add new blood, keep the meta-commentary sharp. Feels like a natural conversation partner to this film, both released in the same year with similar energy.

But The mystery plot gets convoluted. If you're hoping for a sequel that logically follows the first, you might find yourself lost in the weeds.

Final Destination2000

Teen slasher with inventive kills and genuine tension. Shares that late-90s sensibility—attractive young cast, body count, one clear antagonist (though here it's more abstract). The opening plane crash alone justifies it.

But The plotting is thin and the kills, while creative, can feel more like set pieces than consequences. Some find it more comic than scary.

Not sure tonight? Get a pick in a minute, starting from I Still Know What You Did Last Summer

The wildcard

Something you would not have found on your own.

Cherry Falls2000

Both are late-90s slashers about isolated groups hunted by a killer with a past. Both understand that horror can be fun and silly without losing the edge. Cherry Falls just takes the joke further and louder.

A slasher that inverts the final-girl dynamic: the killer targets virgins, so the town's teenagers race to lose their virginity. It's trashy, weird, and kind of brilliant in how it uses horror as social commentary. Often overlooked.

But The premise is crude and the execution can feel exploitative. It oscillates between self-aware satire and just... meanness. Not everyone will appreciate the tonal whiplash.

Urban Legend1998

A slick, occasionally clever take on campfire-story horror. It has genuine scares, a talented cast (Tara Reid, Joshua Jackson, Jared Leto), and an aesthetic that mirrors this film's approach to horror as entertainment.

But The backstory doesn't entirely cohere. Once you know who the killer is, the motivation feels thin and the third act loses steam.

Halloween H20: 20 Years Later1998

Jamie Lee Curtis returns to face Michael Myers two decades on. It's a legacy sequel that actually understands what made the original work—the cat-and-mouse game between final girl and killer. Tense and confident.

But Feels less like a direct continuation and more like a soft reboot. The Jason vs. Freddy problem: the killer has become an idea rather than a person you fear.

The Faculty1998

A sci-fi slasher hybrid from Robert Rodriguez with real style. It has wit, practical effects that still hold up, and an ensemble cast that actually charms you. Different enough to feel fresh, familiar enough to scratch the itch.

But The plot twist is predictable if you're genre-savvy. Some of the comedy doesn't land, and the pacing sags in the middle.

Scream1996

If you haven't seen it, it's the blueprint for knowing slashers. Wes Craven's meta-commentary on the genre still works. The opening kill is one of cinema's great shock moments. It made teen horror respectable.

But Knowing all the rules it's about to discuss can make it feel didactic on rewatch. And yes, it's been quoted to death in every slasher since.

A Nightmare on Elm Street1984

The foundational slasher that invented half the template: the pursuing killer, the group of friends, the final girl, practical terror that looks beautiful on film. Freddy is genuinely terrifying before he became a comedian.

But It's over 40 years old now, and some of the effects show their age. The pacing is slower than modern horror—it builds atmosphere rather than rushing to kills.

Friday the 13th Part VII - The New Blood1988

Jason vs. a telekinetic girl in a slasher that leans into absurdity without apologizing. It's pure B-movie entertainment with a body count and practical effects that are genuinely impressive. Dumb fun, executed well.

But The plot is threadbare. If you need coherent storytelling or character development, this will feel like ninety minutes of people waiting to die.

Friday the 13th Part VII - The New Blood poster

One Cut of the Dead2017

Both are about the mechanics of survival and fear under pressure. But where I Still Know is earnest slasher entertainment, One Cut of the Dead uses horror as a Trojan horse for something far warmer. They're inverse approaches to the same engine.

A Japanese zombie film that starts as chaos, becomes a how-to lesson in filmmaking, then transforms into something genuinely moving. It's a love letter to filmmaking, survival horror, and the mess of creating art. Wildly inventive.

But The first twenty minutes are deliberately confusing and almost unwatchable. If you can't commit to following a film's own logic, this will lose you immediately.

A Tale of Two Sisters2003

Both center on young women trying to survive and escape. But where the Fisherman is a tangible threat, A Tale of Two Sisters suggests the real horror is internal—what we carry with us. Same structure, opposite source of fear.

A Korean psychological horror film about two sisters haunted by family trauma. It's gorgeously shot, genuinely unsettling, and operates on dream logic—scary without relying on a physical killer. Atmosphere and dread instead of jump scares.

But It's slow, elliptical, and the ending reframes everything in a way that demands you sit with it. If you want a straightforward narrative or clear resolution, this will frustrate you.