Weapons

Director: Zach Cregger
Starring: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Toby Huss, Benedict Wong, Amy Madigan, Whitmer Thomas, Callie Schuttera, June Diane Raphael, Luke Speakman, Sara Paxton, Justin Long, Clayton Farris, Scarlett Sher
Running Time: 128 min.
Rating: R

**The Following Review Contains Plot Spoilers**

★★★ ½ (out of ★★★★) 

Some of the best films begin with a simple, single sentence idea that's notable for being unlike anything we've heard before. Writer/director Zach Cregger's Weapons is built on such a premise, showing early signs of a potential masterpiece as it attempts to fulfill the promise of its wholly original concept. But how it starts is entirely different from what follows, especially when the crux of that story hinges on one seemingly unanswerable question. 

To Cregger's credit, he doesn't cop out on giving us an answer, regardless of whether it's the one we want. And because of this, we're willing to buy into the payoff accompanying those astronomical expectations. While its wisest to approach this as a straightforward horror vehicle along the lines of Cregger's own Barbarian or Oz Perkins' Longlegs, a captivating jigsaw puzzle structure, great performances and an equal abundance of scares and laughs enable it to easily eclipse both. There's an an ambition and assuredness to how it comes together, resulting in a divisive reveal that also happens to be a total blast.

Two years ago in the town of Maybrook, Pennsylvania, seventeen students from elementary school teacher Justine Gandy's (Julia Garner) third grade class ran out of their homes at 2:17 a.m. and disappeared. Later that morning, Justine arrived to discover only one child, Alex Lilly (Cary Christopher), in her classroom as authorities get involved and parents frantically search for their kids. With an irate public demanding an investigation into Justine, a muted Alex quietly processes the tragedy, all while the days leading to and following the event are shown through separate, occasionally intersecting chapters.  

Each of these sections follow a character impacted or perhaps even potentially involved. There's Justine, her ex-boyfriend and police officer Paul (Alden Ehrenreich), construction contractor and parent Archer (Josh Brolin), school principal Marcus (Benedict Wong), homeless drug addict James (Austin Abrams), the shell shocked Alex and an eccentric older woman named Gladys (Amy Madigan). Each of their segments provide additional pieces of information about what happened to these children, bringing us increasingly closer to the truth.

In the film's hypnotic opening minutes, we watch those kids run down the street arms outstretched as George Harrison's haunting "Beware of Darkness" plays over the soundtrack and an unidentified girl's folksy voiceover describes the vanishing. This casts a pallor of atmospheric dread that extends beyond the parameters of "elevated horror" into another realm we're not sure the rest of the film can deliver on, despite our willingness to take the ride. And though much of its first half plays as a psychological thriller, it's impossible not to view the event itself, along with the ensuing search for answers, as a clear allegory for school shootings and child abductions.   

Much of the first act surrounds the direct aftermath of the disappearance, with the town's enraged parents baring down on Justine since it can't merely be a coincidence that only her students went missing. But it's also an argument more borne from helpless anger than logic since she's an easy scapecoat unaided by her own checkered past. That she's the town's defacto suspect on circumstance alone isn't a detail that's lost on school principal Marcus or Toby Huss' Police Captain Ed.

An understanding Marcus sympathizes with Justine's plight while recognizing the problems her continued employment causes, especially when she insists on talking with a traumatized Alex. Ed just lacks any credible evidence of her involvement, as everything took place outside school hours, with the kids caught on camera willingly running from their homes. And that detail will prove particularly important.  

Garner's career defining work in Ozark aside, few could argue the actress's performance here represents her best onscreen performance yet as Justine's attempts to maintain the facade of an orderly, composed grade school teacher is frayed at the seams by insurmountable pressure and judgment. Whether she's harassed by parents, having her car vandalized, hitting the bottle or reigniting an affair with married ex Paul, she's understandably overwhelmed and close to reaching the end of her rope. 

While those who really know Justine seriously doubt she has something to do with this, her own instincts about Alex couldn't be more correct. If from the start it's implied these two "surviving" characters hold the key, no parent demands answers more than the brutish Archer, who Brolin plays with the quiet intensity of a determined father who'll stop at nothing to find his son. Giving little credence to what cops or other parents think, Archer adopts a logical method in scanning neighborhood security footage for crucial clues. And aside from his illicit affair with Justine, Ehrenreich's Paul battles an issue of his own that doesn't appear connected to the central mystery. At least until it is.    

The fun of Cregger's story comes not just from speculating which character he'll pivot to next, but why, and how that dovetails with what comes before or follows after. And it gradually start coming together during a combative gas station moment between Justine and Archer that goes completely sideways, confirming our suspicions of a supernatural component lying at the heart of this dark, twisted fairy tale. 

Dots connect in the film's big reveal, entertainingly unraveling every clue we've been given, most of which involve Alex and his creepy "aunt" Gladys, played by an unrecognizable Amy Madigan in a bright orange wig and garish clown makeup. Wacky, campy and sinister all at once, her ability to embody this outwardly disarming kook with a sadistic plan defines the concluding thirty minutes. Like everything else in the film, there are numerous interpretations of her presence, whether that's as a malevolent instigator of change and disruption in children's lives or even the physical manifestation of society's fearful disdain of the elderly. Either way, she's pure nightmare fuel, especially in a terrifying moment that sees her spontaneously pop up in the woods.  

As it all comes to fruition, you can definitely make a case for plot holes (such as no one noticing those missing name tags), but good luck turning away from the craziness for even a minute. And the actual execution remains undeniably thrilling in the face of a bar set high enough for any chosen ending to cause disappointment or controversy. But therein lies the dilemma of whether to judge this for what it is, isn't, or maybe a little of both. Transcending limitations of the genre, Weapons takes a fresh approach, inviting repeated viewings that should determine the extent of its staying power. For now though, let's file it under "mind blowing" and appreciate that Cregger's just getting started, with his best still likely to come.             

The Naked Gun (2025)

Director: Akiva Schaffer
Starring: Liam Neeson, Pamela Anderson, Paul Walter Hauser, Danny Huston, CCH Pounder, Kevin Durand, Liza Koshy, Eddie Yu, Moses Jones, Cody Rhodes, Busta Rhymes, Dave Bautista, "Weird Al" Yankovic 
Running Time: 85 min.
Rating: PG-13

★★★ (out of ★★★★) 

What's immediately obvious in the opening minutes of co-writer/director Akiva Schaffer's sequel to the classic 80's and 90's Naked Gun comedy franchise is that he understands the assignment. And by successfully translating that same style of humor into the current era, the film doesn't let up for a second, bombarding us with an avalanche of jokes and sight gags that rarely miss during the entirety of its surprisingly tight 85 minutes. 

None of it's easy for any comedy to do, much less one based on a decades old movie adapted from a far older, even less known TV series. But in the spirit of those, this masters the lost art of playing it straight, as the best spoofs always have. Beating viewers into exhaustion before they can come up for air is a good problem to have, especially considering the concerns a promising trailer may have given its funniest bits away. As it turns out, that preview was an ideal tease, barely scratching the surface of the ensuing hilarity we'd get.

When LAPD Lieutenant Frank Drebin Jr. (Liam Neeson) attempts to thwart a bank robbery, his risky law enforcement methods get him reassigned to work alongside Capt. Ed Hocken Jr. (Paul Walter Hauser) investigating a fatal car crash involving software engineer Simon Davenport. After initially ruling the death a suicide, Frank's confronted by Simon's crime novelist sister Beth (Pamela Anderson), who suspects foul play and urges him to dig deeper, despite his noticeable doubts. 

Following the evidence, Frank questions Simon's wealthy boss and Edentech CEO Richard Cane (Danny Huston), prompting suspicions that the bank robbery and car crash could be linked. But as Frank and Beth grow closer, Cane sets the wheels set in motion for an over-the-top plan involving a device capable of reverting the population back to their primitive states so billionaires can rule the world. Now with the clock rapidly ticking, Frank and Beth must work together to somehow foil Cane's scheme before it's too late.

It's a pretty good sign when you're already in stitches after the opening sequence, an action packed robbery during which a valuable lockbox is opened to reveal the hilariously named electronic P.L.O.T. (Primordial Law of Toughness) device. And as we get our first dose of Neeson's physical comedy chops and deadpan delivery, it's obvious a lesser script would probably try to explain Frank Jr.'s relationship with his late father or maybe even include clips from the original. Schaffer isn't interested in any of that, instead wisely mocking that detail and an entire department of legacy hires in a gut busting moment before moving on.  

With each succeeding scene, Neeson proves equipped at filling Nielsen's shoes, gamely tackling this material no differently than he would the high octane thrillers he's built his reputation headlining. And already clever lines play only seem that much goofier when delivered in his gruff, no-nonsense tone. Though it's hard to cite every highlight, a running visual gag involving coffee and some unfortunate body cam footage of Frank's lunch break have to rank up there, along with a hysterical romantic weekend getaway involving him, Beth and a maniacal snowman. 

Pamela Anderson continues her career renaissance as the ideal onscreen partner for Neeson, keeping pace with him as the pair encounter one absurd situation after another. If her role recalls Priscilla Presley's, that's not a drawback since Anderson's better at it, sharing effortless chemistry with Neeson as she dives headfirst into the silliness required of her. And with all the sneering, cerebral menace he displays in his villainous turns, Danny Huston earns huge laughs doing it in a different context as psychotic billionaire Cane. There are also a handful of brief cameos that really hit the mark, mainly because the filmmakers don't overdue it, getting the most out of these appearances by utilizing them at opportune times.

Even when the plot seems to run out of gas in the third act it hardly matters since the jokes still hit hard right up to and including the final credits. Of course, this wouldn't be possible without Neeson, whose unflappable performance not only does Nielsen's outings proud, but proves "reboots" or "sequels" don't have to be dirty words. And unlike the recent Happy Gilmore 2, this doesn't abandon the original's rowdy attitude for a kinder, gentler trip down memory lane. Schaffer knows exactly what The Naked Gun should be and makes good on that promise, likely pleasing fans worried how this would turn out.                                                                

Dexter: Resurrection (Season 1)

Creator: Clyde Phillips
Starring: Michael C. Hall, Uma Thurman, Jack Alcott, David Zayas, Ntare Guma Mbaho Mwine, Kadia Saraf, Dominic Fumusa, Emilia Suárez, James Remar, Peter Dinklage, Eric Stonestreet, Steve Schirripa, John Lithgow, Erik King, Jimmy Smits, Marc Menchaca, C.S. Lee, Desmond Harrington, Neil Patrick Harris, Krysten Ritter, David Dastmalchian, Christian Camargo
Original Airdate: 2025

**The Following Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Having last seen former Miami Metro forensics expert and vigilante killer Dexter Morgan lying lifeless in the snow after being shot by his own son, the anti-hero got about as conclusive a finish as we've seen since Walter White's demise in Breaking Bad. But in one of the more shocking TV developments in recent years, Dexter returns with its best iteration yet after seemingly concluding for good after 2022's underappreciated New Blood finale. 

For those still upset how the original series signed off in 2013, that ending should have been their antidote, as Dexter's crimes weren't only exposed, but he accepted his fate, willingly facing consequences at the hands of the person he hurt most. Instead, fans proved they're still tough to please, even when given what they've claimed to want all along. But no matter how anyone feels about creator and showrunner Clyde Phillips' creative decisions, the announcement of three new impending Dexter shows (including the now cancelled prequel Original Sin) prompted justifiable skepticism.  

The idea of picking up where New Blood left off may have caused jaws to drop, but whatever ideas remained from its hypothetical second season now morphs into the brilliant Dexter: Resurrection, which isn't just a huge departure from the formula, but sets a new bar for the franchise as a whole. Armed with a fresh setting, top notch writing and acting, a dream cast and possibly its most potent villain yet, these ten thrilling episodes find a physically and psychologically spent Dexter at the end of his rope. Reckoning with his past while facing the reality he's brought more harm than good to those closest to him, he'll try not to squander a second chance at being the father he couldn't before. 

This is a different, more determined Dexter, intent on controlling his dark side to protect the only person who still matters. But after finding a safe space where his worst impulses are accepted and encouraged, he finds dangerous strings attached, just as a familiar face from his past reemerges to take him down. Full of mind blowing developments, this season finds the show firing on all cylinders, finally giving fans something they can unanimously agree on. 

Dexter Morgan (Michael C. Hall) has awakened from a ten week coma after suffering a near-fatal gunshot wound at the hands of his son Harrison (Jack Alcott), who's since fled Iron Lake for New York City. Still believing his father died, he works as a bellhop at the Empire Hotel while Dexter continues to recover. But when Harrison snaps, killing a sexual predator to prevent the rape of a hotel guest, the crime immediately grabs the attention of meticulously wired NYPD homicide detective Claudette Wallace (Kadia Saraf) and her skeptical partner Oliva (Dominic Fumusa). 

Upon hearing of the killer's familiar body disposal method, Dexter heads to NYC to help Harrison. Unfortunately, former Miami Metro police captain, colleague and friend Angel Batista (David Zayas) trails behind, more determined than ever to prove Dexter's guilt. But as deceased adoptive father Harry (James Remar) reappearing as his inner consciousness, Dexter watches Harrison from afar, forging a friendship with kindly rideshare driver and new landlord Blessing (Ntare Guma Mbaho Mwine). 

It's only when serial killer Ron "Red" Schmidt (Marc Menchaca) is branded with Dexter's own "Dark Passenger" moniker for murdering the city's drivers that his vengeful yearnings take hold, leading him to a secret society of serial killers funded by billionaire philanthropist Leon Prater (Peter Dinklage). But as Batista closes in on Dexter, an impressed Prater takes a real liking to his newest recruit, despite suspicions from icy, loyal head of security Charley (Uma Thurman). Now Dexter not only needs to protect his cover, but also Harrison, who he's on the cusp of reconnecting with. 

You'd figure it would be impossible to explain away Dexter surviving that apparently fatal gunshot wound at the end of New Blood, but the writers cleverly manage to do this logically. And while there are still minor plot holes, it's surprising just how cleverly they account for him not being booked on murder charges, clearing the table for a next crucial chapter. 

As Dexter fights for his life, some of the show's most pivotal figures reappear to him in a vision, offering valuable insight into his past and potential future. It plays as kind of a series highlight reel, with John Lithgow's Trinity Killer, Jimmy Smits' Miguel Prado and even Erik King's Sgt. Doakes returning to remind him that Harrison needs his best. Of course, the most important voice occupying Dexter's mind is his Dark Passenger, conveyed through the hallucinatory presence of late father Harry. 

Remar's role as Harry only gains greater significance after seeing how Christian Slater's take on the elder Morgan in Original Sin shed additional light on the impetus of he and Dexter's complicated bond. And it's also why this season functions as a closer companion to the prequel than original series, with the two trading barbs back-and-forth throughout. Ghost Harry may be hilariously sarcastic and disapproving, but Dexter gives it right back as he expresses serious hesitancy at the notion of reentering Harrison's life.

Moonlighting as a rideshare driver shortly after arriving in NYC, an emotionally paralyzed Dexter knows Harrison needs help but has no idea how to approach a son who still thinks he killed him. And while Jack Alcott impressed in New Blood, many didn't count on him getting the chance to reprise this role again, much less add so many new wrinkles to a character who's endured a lot. 

Though Dexter and Harry are both responsible for the deaths of their son's mothers, Harrison isn't necessarily destined to follow in their flawed footsteps despite also being "born in blood." Like Dexter, Harrison has the ability to fit in anywhere, finding a job and a place to temporarily crash, even managing to easily make friends without the social awkwardness that defines his dad. Where he differs is in feeling remorse for a crime committed not out of an uncontrollable urge, but a desire to help someone. It's his very fear of becoming Dexter that stands as the most conclusive proof he isn't.  

Harrison just goes too far in the moment, recognizing this in a self reflective way Dexter never could when his reckless behavior harmed those he loved most, like Rita and Deb. It's a moral distinction that more closely aligns Harrison with his late mom than a dad who continues to view himself as a "Dark Avenger." In actuality, he'd be better off taking lessons on being a superhero from his own son. 

Much of Harrison's story revolves around Dexter realizing he can't be the father Harry was for him since the youngest Morgan lacks that Dark Passenger gene. The kid just needs his dad, which doesn't mean Harrison isn't still shaped by Dexter's past, whether he's being drawn to rescuing co-worker and single mom Elsa (Emilia Suárez) or potentially pursuing a career in law enforcement. 

True to his character, Harrison's also a bad liar who finds himself in the crosshairs of neurodivergent, Bee Gee's loving homicide detective Wallace. Fittingly played by Law and Order alum Saraf as the smartest, most observant cop either Morgan could encounter, she quickly puts the pieces together, zeroing in on the nervous bellhop as her prime suspect. Watching Harrison clumsily try to cover his tracks before stammering under the pressure of Wallace's questioning, we're reminded of young Dexter's mistakes in Original Sin, minus the eager enthusiasm. 

Harrison hates himself for pulling the trigger, but also despises his dad for asking him to, even as Dexter rightly accepts the blame. It won't be until he saves his son from a growing mountain of circumstantial evidence that the ice between them starts thawing. But while everyone's new favorite UrCar driver shows promising signs of selflessness in his conversations with Harrison and bond with Blessing and his family, the darkness persists. Having already eliminated Dark Passenger knock-off Red, Dexter can't pass on joining an exclusive serial killers club, regardless of whether he was officially invited. And though his best lies always contain an abundance of truth, he's really playing with fire this time. 

Surreal as it is to see Uma Thurman in the Dexter universe, her introductory scene goes quite a distance in establishing the badass Charley as a cold, calculated fixer who doesn't suffer fools. Clad in tactical gear, she slyly maneuvers herself into Red's apartment, leaving the gift and dinner invitation Dexter claims as his own, making it that much easier to speculate just how dangerous her boss is. 

While Dinklage's Leon Prater is a serious threat, he's not your usual Dexter adversary, giving the newest member of his secret society an enthusiastically warm welcome. But with each word, expression and mannerism, Dinklage subtly hints at a god complex bubbling beneath, suggesting much more to this wealthy collector with a mysterious past. 

Dexter may be Prater's latest prize, but he's hardly the first, as confirmed by a trophy room filled with personally obtained effects and evidence from infamous serial killers such as John Wayne Gacy, Ted Bundy, Son of Sam, Jeffrey Dahmer and the fictitious "New York Ripper" Detective Wallace has devoted her career to catching. 

Of course, that elaborate display that wouldn't be complete without souvenirs from Trinity, Dexter's Ice Truck Killer brother Brian Moser (Christian Camargo) and the legendary Bay Harbor Butcher, who Prater has now unknowingly let into his inner sanctum.

The reveal of this vault might be the season's creepiest scene but what stands out more is Dexter's reaction to seeing his infamous blood slides or the gurney on which he ended Brian's life. And any lie he tells as Red reveals more than a bit of truth about himself, his mask dropping at many points, much to the delight of a giddy, starstruck Prater. 

Joining Dinklage and Thurman is a stacked supporting ensemble comprising of Krysten Ritter, David Dastmalchian, Neil Patrick Harris and Eric Stonestreet as the various killers, each of whom have their own twisted methodology. Ritter's "Lady Vengeance" and Dastmalchian's "Gemini" leave the largest impressions, not just due to their chilling performances, but how their characters are written and played to reflect different aspects of Dexter, who adheres to a code neither could possibly understand or abide by. 

All of these members have a loose, preconceived sets of rules, but they're really no different than Dexter's many other cold blooded victims, regardless of how closely their past traumas resemble his. With Ritter's Mia, it's a dysfunctional family history while Dastmalchian's Gareth dredges up Dexter's unresolved baggage with his own brother. 

Despite her penchant for offing sexual predators, Mia isn't the heroic vigilante the media or Dexter assumed, even if she still proves valuable in his quest to protect Harrison. Unsure whether to befriend or murder these killers, Dexter treads carefully at first, calculating the risk of everyone disappearing immediately after he's joined the group. 

Impressed and deliriously pleased by his newest recruit, we get the impression serial killer fanboy Prater might be ecstatic after uncovering Dexter's true identity, especially since most everything else Dexter reveals about his tortured soul is true. And the more we learn about Prater's Bruce Wayne-like backstory, the clearer it becomes why he's so intrigued by his favorite pupil's unusual "share" with the group. 

But whatever childhood commonalities he may share with Dexter, Prater thrives on manipulation and control, getting his kicks from others needing him to survive. Expertly conveying both sides of this meglomaniac, an Emmy-worthy Dinklage inhabits a greedy monster who wields superficial generosity as a weapon, his wealth merely a means to own people for personal amusement. 

While Prater exhibits uncontainable excitement at the members' various kills and methods, Charley acts as his loyal soldier, particularly suspicious of Dexter from day one. But even her allegiance to the boss extends only so far as we gradually learn the true nature of their arrangement, leading to some intense, vulnerable work from Thurman in the home stretch. 

With Batista continuing to close in on a united Dexter and Harrison, it's only a matter of time before it all lands on Prater's lap. If Dexter fails again in keeping Harrison safe, much of that can be traced to his own past haunting him in the form of Batista. Now that the co-worker and friend he bonded with for over twenty years knows he's the  Bay Harbor Butcher, every Batista memory is tainted by the totality of Dexter's crimes. Most especially the deaths of ex-wife Maria and Sgt. Doakes.

All of this provides David Zayas with the chance to play an obsessive, unhinged version of his beloved character who'll stop at nothing for justice, despite being recently retired. The problem lies in him having only vaguely circumstantial evidence of Dexter's guilt,along with the fact he's impersonating an active law enforcement officer. 

While we know Batista's right about everything, it's understandable why he'd start looking like a crazed madman to Wallace or just about anyone else, including promoted former colleague and friend Lieutenant Quinn (a returning Desmond Harrington).  

Though Batista's attempt to catch the Butcher in action backfires spectacularly and destroys his case, Dexter's respect for him doesn't waver. His warnings to back off aren't threats, but pleas, knowing it always ends badly for those who choose this path. And that's exactly what happens to Batista once he meets Prater, who's predictably wowed to be in the same room as the notorious Bay Harbor Butcher. Only we know Dexter could never bring himself to kill Batista, or at least not for the sole purpose of indulging Prater's sick thrills. 

It's ultimately Batista's hatred and sense of justice that consumes him, angrily sacrificing his own life to destroy Dexter, who underestimated just how much pain and damage he caused. Even without literally killing Deb, Maria, Doakes or Rita, he remains unquestionably responsible for their deaths, causing any apologies to ring hollow. 

Dexter probably knew Batista aligning with him was a long shot, and unlike in his earlier fallout with Blessing, doesn't receive the forgiveness he genuinely seeks. So hurt and rattled by Batista's dying words, all he can do now is let out an anguished, primal scream.

Dexter's relationship with Harrison is the one he ends up salvaging, simply by being somewhat transparent and accepting that his son isn't him. Prater's machinations seal his own fate once Charley realizes she's also had enough, paving the way for Dexter to deny him a dignity even his most depraved victims receive. Categorizing Prater as irrelevant and unmemorable, Dexter uses the puppet master's own words against him, spitefully foregoing the minimal attention a blood slide could provide.  

Where this resembles the original series is in a lack of cliffhangers or loose ends, with the book closing until a new season, whether that's in NYC or possibly somewhere else. Just about the only lingering thread is the question of Batista's body being found in the vault, which glaringly links Dexter and Prater. It'll be interesting to see if this raises any red flags, assuming the writers choose to go there. 

The closing image of Dexter on a yacht as he disposes of Prater is the scene we didn't know we needed, calling back to his days in Miami. And with unfortunate cancellation of Original Sin, it might be the closest we'll get, at least for now. With Dexter wrestling with the reality of who he is, this season was all about Harrison helping him learn how to better control and accept it. And while we all know Michael C. Hall's versatile enough to tackle any other project right now, this showcased exactly why he shouldn't. Much like the actor who plays him, Dexter's back where he belongs, even if it'll be an excruciating wait to see what comes next.                                                                                                                          

I Know What You Did Last Summer (2025)

Director: Jennifer Kaytin Robinson
Starring: Madelyn Cline, Chase Sui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Freddie Prinze Jr., Jennifer Love Hewitt, Gabbriette Bechtel, Austin Nichols, Joshua Orpin, Georgia Flood, Sarah Michelle Gellar, Brandy Norwood
Running Time: 111 min.
Rating: R

★★½ (out of ★★★★)  

In the pantheon of horror movie villains, The Fisherman may have trouble cracking most's top ten lists, and yet, 1997's I Know What You Did Last Summer still manages to impressively retain a devoted following of hardcore fans. Riding the wave that began with Wes Craven's Scream, a week couldn't go by in the 90's or early 2000's without teen audiences getting variations on that film's formula, even if lacking its subversive wit. So a few of the era's hottest stars, a deadly fishing hook and a somewhat compelling whodunnit was all it took, even if many wouldn't pass a quiz on key plot points or the killer's identity after it ended. 

While nothing about the original stood out from similar projects in the genre released that decade, there's something to be said for getting there second and holding on long enough to earn an underwhelming follow-up, a worse direct-to-video sequel and a short-lived streaming series. For almost thirty years, it's sort of endured, proving nostalgia goes a long way, both for those old enough to have their early moviegoing experiences shaped by it and a newer generation just discovering the franchise. It wasn't a terrible idea to do this, but the bar's set higher now, as co-writer/director Jennifer Kaytin Robinson's take closely follows the basic blueprint, leaving us with a modernized, mechanical update in search of a consistent tone.    

It's the Fourth of July and Ava (Chase Sui Wonders) is returning home to Southport, North Carolina to attend friend Danica's (Madelyn Cline) engagement party before she, Danica, Ava's ex Milo (Jonah Hauer King), Danica's fiancé Teddy (Tyriq Withers) and former classmate Stevie (Sarah Pidgeon) go out to watch the fireworks. But when a drunken Teddy causes a commotion in the middle of the road that leads to an oncoming vehicle swerving off the side of a cliff, its driver is presumed dead. Despite Ava's pleas for them to contact the police, Teddy vows everyone to secrecy while his politically influential father Grant (Billy Campbell) covers up the accident. 

Flash forward a year later and Ava's back for Danica's bridal shower, meeting her friend's new fiancé Wyatt (Joshua Orpin) and reuniting with the rest of the gang. Only now, Danica receives a mysteriously threatening note just as a new hook wielding fisherman starts targeting those involved in the crash. But while Ava seeks the help of original survivor Julie James (Jennifer Love Hewitt), the local government and police work to hide any signs of unrest in their idyllic tourist town. That is until Julie's ex-husband Ray Bronson (Freddie Prinze Jr.) reemerges to remind everyone what happened in 1997, as they all unite to uncover the Fisherman's identity and stop the carnage.

Once you get past a somewhat clunky opening, its premise of karmic retribution for careless, selfish behavior was promising the first time around and still is. But Robinson and Leah McKendrick's script telegraphs the most unnecessary, unlikable characters right away, marking them for obvious exits that usually involve a harpoon through the chest. 

As the victims' gutted corpses are displayed for the public to ogle, the script assembles a suspect list that not only includes those aforementioned friends, but other shadier characters like obsessed true crime podcast host Tyler (Gabbriette Bechtel) and the potentially evil Pastor Judah (Austin Nichols). Of course by description alone both are such genre stereotypes that you can immediately cancel them out as possible killers. 

Of the core five, Danica's a ditzy partier, Teddy's a drunk who can't get over their break-up, Stevie's a recovering drug addict, Wyatt's a non-entity, while pure intentioned Ava has a conscience, making her our likeliest Final Girl candidate. And in setting up a very familiar scenario where it could be anyone, the story gradually takes on this sort of feminist slant that may actually remind some of 2019's polarizing Black Christmas remake. 

More noteworthy is the dynamic within town, as corrupt officials bend over backwards to erase the '97 murders from collective memory in an attempt to preserve Southport's thriving economy. Now as the killings ramp up again, they double down on denials and gaslighting, with Campbell's greedy land developer attempting to channel Mayor Vaughn from Jaws. This and the potential of a conspiracy surrounding these crimes would contain promise, if only the town had a hint of local color or sense of place to help convey a community on edge.

Since Chase Sui Wonders already seems on track to break out as a star, the best news for her is that nothing she does here compromises it. As the only honest, likable character of the bunch, the actress handles her thankless assignment well enough to laugh later without embarrassment or regret. Madelyn Cline is saddled with an airheaded part, and while she's been better, delivers what's necessary, as does Sarah Pidgeon, whose solemn Stevie has less screen time, but a more complicated past. 

Possibly by design, none of the guys are really given a chance to register as they're picked off one-by-one. And though we're nearly an hour in before the legacy players show up, it's mostly worth the wait. Jennifer Love Hewitt's cranky, traumatized Julie isn't messing around about wanting no part of this again, Sarah Michelle Gellar's brief but creepy cameo as Fisherman victim Helen Shivers makes for an impactful moment while Freddie Prinze Jr. gives the film's best performance as a protective Ray. Successfully easing into middle-aged character roles of late, he anchors much of this, at times saving the story from going completely off the rails. 

Slightly overlong with one finish too many, this fittingly tears a page out of Scream's playbook in how it executes a couple of big reveals, the second of which bests the first. There's also a dangling thread the filmmakers probably counted on carrying over into a sequel that won't be happen. A better effort would have taken its cues from Eli Roth's substantially more fun Thanksgiving, where an instantly recognizable villain and memorable setting was used to great effect, making it feel like a new incarnation of an old school slasher. Instead, this only repeats some of the same problems as its 90's predecessor, minus years of distance and a pair of rose colored glasses skewing viewers' perception of its quality.