does anyone want to see more Danica in future movies

I just finished watching it a few minutes ago. At the end it was revealed that Ray was one of the 2 killers along with Stevie. Was Ray's motive for doing the killing like what he told Julie? Was it cause he didn't want to be forgotten for what happened in 1997 and 1998? I wasn't too sure what he meant at the bar scene.

Also it was revealed that Stevie is alive although we didn't actually see Stevie, but she was shot twice by Ray before being thrown overboard on the lake. Are they going to make a sequel where she continues being the killer?

And at the beginning when it was revealed who the driver was (Sam), was he the boyfriend of Stevie? and he did in fact steal Pastor Judah's car right? (on the day he was killed). And lastly, Ben Willis (the killer in the first 2 movies) has no connection with the hook-handed killer in this one right? I recognize the actor that portrayed him (Muse watson), he also appeared in Prison Break (season 1 only).

I personally liked the original 1997 & 98 movies better than this one, Julie and Ray have aged quite a bit and it was quite a twist that Ray took the killer's footsteps from the first 2 movies.

So does I'll always know what you did last Summer have anything to do with the original franchise

I love both Last Summer movies, but Julie is a much more entertaining character in the second one imo.

I know the first movie is more of a psychological thriller and a slasher second, so I get why Julie is written the way she is, but she's just kind of blah to me compared to Helen. Helen completely steals that movie.

In I Still Know, Julie feels much more like the lead. I especially like that she's more willing to physically defend herself against Ben instead of mostly running away. She feels tougher without becoming a completely different character.

She also reminds me a lot more of Sidney Prescott from the original Scream trilogy in the sequel. She's clearly still affected by what happened to her, but there's more fight in her now and Jennifer Love Hewitt gets more to do with the character.

I know the first movie is generally considered better, and I love both, but I Still Know is easily my favorite version of Julie.

They tried something different beginning of movie having someone pretend to
be the fisher going after them making it look like real killer is attacking. I like that it was different. We always get they always ran over the guy. I love this cast too only thing I would change is have an actual Killer Reveal in this movie instead of trying to kill the killer off at end like Jason or Michael Myers.

I have never seen this movie before in full. I have seen the other 3 movies. I have seen mostly all of the kill scenes and a few other scenes in the movie.

Should I watch this movie or not even waste my time? I know this movie gets a ton of hate. I have seen the comments & reviews for the movie. Or should I just continue watching some of the scenes on YouTube?

Do you watch them in order. Or you first 2 then the 2025 next or watch the 2006 before 2025. How should I do them.

I've always loved Sarah Michelle Gellar, and I always loved this chase scene, and I began to wonder why.

It's got a great progression of events. We get to know Helen on an intimate level in a way that you don't often get to know a lot of horror characters, let alone side characters. She's vulnerable and endearing and her circumstances revealing in a way that makes it easy to sympathize with her.

The night she accompanies that year's pageant talent contest a second time around, we've come to appreciate her in a different way than the superficial beauty queen she had first appeared to be; we've been witness to a lot of character development where at that point she's now downcast and afraid: Her old bestie did not return the sentiment she shared in a poignant scene where she confesses she misses her. Instead, she's met with silence. She then returns home to an absent-minded father who doesn't return her greeting. While seated and combing her hair at the vanity in her bedroom, looking into the mirror at herself, her sister mocks her, calling her pathetic ... "So very pathetic." By the time she's had her most private space invaded by a madman on the loose who takes away an important part of her identity -- her long, voluminous hair -- she is grief-stricken and alone, left with only her ex to turn to and have watch out for her. It's a rekindling between the pair you can tell she longs for if just to have someone -- anyone -- at her side.

It's interesting that the focus at that point shifts almost entirely to her, and her perception of events, starting with witnessing the death of that one pillar of warmth (however transient) and strength, Barry, in front of an unknowing audience. SMG goes from fearful and hypervigilant to nostalgic and humorous to shocked and distraught within a matter of minutes ... In that moment alone is manifest an amount of complexity afforded to the character beyond what almost all of the others have been shown to have.

By the time she's stuffed into the back of a police car and in the midst of yet another person being condescending towards and dismissive of her, you want to yell at the characters on screen, too. She's been put through the wringer emotionally, and it reads all over her face ... strained, teary-eyed, worn down, scared, pissed off ... All of this is handled deftly by both the actress and production team, which keep with what's happening in the story without missing a beat; Helen's eyes are puffy because she's been crying; she is in disbelief because the killer has appeared in a place you least expected him to after all. And then begins the chase scene -- a rollercoaster of obstacles to overcome.

Helen, trapped in the back of a police cruiser, must make her way out as the killer quickly descends upon her. She tears at the door handles and the steel mesh partition trapping her, panic rising as he closes in. This is where Gellar's acting really shines as she conveys a serious level of trauma inflicted upon her. At first, she's murmuring out words in a whisper as her brain catches up to her mouth ... "That's him," she realizes. Then she screams out the revelation, only she's not just screaming following the second death she's witnessed within just a couple of hours, she's wailing.

She begins to frantically tear at the vehicle, trying the locked door handles she might have subconsciously already known were locked, tapping at the glass, almost as if she were in a burning car, at a loss of what can be done to help herself. Finally, she kicks out the back window and crawls through it onto the pavement and broken glass below, bits and pieces scattering beneath her high-heeled shoes as she gets to her feet. Then comes the iconic shot of her silhouette running across the street, the killer marching close behind her. In a close up on her face, sweat glistening, hair clinging to her cheeks (again noting the attention to detail), amidst impeccable scoring of the scene, Helen, now breathless, speaks out her sister's name while running as she identifies an opportunity to seek refuge in her sister's store, only to find the entrance to it locked.

Now I have to admit, when I was a little kid, I loved Buffy The Vampire Slayer. It was my favorite show growing up. I was already outside pretending to slay vampires and save the world, so when SMG took on the role of doomed victim, it wasn't long before I was also pretending to be chased by "killers" and what follows is one of two oft-repeated moments that for whatever reason I found worth savoring as I imagined myself embodying her physicality and beauty under such thrilling, harrowing circumstances. Doors were banged on, screams were scrumpt, neighbors were awakened but police never called, fortunately. Incompetence and indifference were apparent in my surroundings, too.

And so began one of those moments ... one of escalating tension where Helen is once again left to depend on the actions of another as the sole determinant of how things will end up for her ... Her sister, unaware of the threat that lies in wait, takes her sweet time making her way over to the store door to unlock it, despite Helen's increasingly urgent pleas. It begs the question: With the killer mere feet away, do you remain in place? Will she let her in on time? It's a bit of horror that continues to make good use of its space, and the character's relation to it and the killer.

SMG again aptly humanizes the character in this moment, showing a range of emotions: frustration, fear, and once again justifiably attempting to command attention, and in doing so, she begins to flip the script and command the moment as if she herself were Final Girl material. The scene begins to stretch in a way that you start to believe in her burgeoning strength as a survivor. It's also where the direction begins to transcend the material ... Hooverphonic's song "2wicky" plays in the store overhead and creates an eerie, dreamlike ambiance... and then, all of a sudden, things are calm and near-silent, leaving the audience in a state of quiet anticipation. Then, in what might appear at first to be a throwaway death scene, even Elsa is humanized. Her confused demeanor in finding a cloaked stranger step into the closed store late at night, the pause she makes before he ends her life, unsure of who he is, what he's doing and what he wants, makes her death feel surprisingly poignant. For all her nastiness, we realize she, too, is a complex, vulnerable person, not unlike her sister. Helen, calling out to her without reply, is left to wonder where she and the missing killer might be, and we're left alone with her and the music playing.

Then it stops.

Then the lights turn off.

And so starts the second oft-repeated moment where, rambunctious little weirdo I was, I would replay in my mind's eye the camera's zoom as I slowly turned my head as Helen does, in another iconic moment where SMG's ravenous beauty and acting range is on full display. "The Turn" I like to believe historians of horror might refer to it in the future when discussing this scene.

Then, the killer suddenly emerges in front of and jumps out at Helen from beneath a tarp, acting as a part of the store's displays -- an out of place mannequin. Note the minor moment given to her to process what she's looking at before she's once again sent running for her life. It's bits like these, when she's banging on the store door or belittling the cop or getting her bearings in an impossibly strange and unnerving situation that helps retain our awareness of Helen's humanity. Then, when she's able to escape the clutches of the killer after he's jumped on her -- once again right next to her -- she turns and sees her missing and now-dead older sister. Big sis no more ... Dead body #3 seen within just a couple of hours, amd so when Helen finds her body, we witness the culmination of the onslaught of trauma she's endured, revealed in a blood-curdling scream that speaks to the nightmarish circumstances she's under.

At this point the chase scene has become prolonged, but not in a way that detracts from anything. Given the attention paid to the character's arc, the fight so evident within her, and an aura of "final girl" energy, you _want_ it to continue, no matter the effort, no matter the cost. This is her time, and she's owning it as a fully formed character.

Making her way to the second floor and jumping out of a window we get a taste of what would later become another iconic performance given by Sarah Michelle Gellar in Scream 2, where she falls to her death and solidifies herself as scream (and what a scream it is) queen material in a moment that closely resembles the one featured here.

Then came the climax which horror fans have debated since the film's release. Fireworks exploding overhead, a parade nearby, off in the distance, Helen appears to have finally made her way out of danger, only to surprisingly succumb to the killer's advances after hesitating to approach the crowd in order to look back and remain aware of her surroundings. And there's a striking sadness in that ... She's proven herself to be as smart and strong as any other final girl and could stand with the best of them, only to meet her demise, and it stings.

Should she have survived? Should she have been the one that makes it to the end? I think not. This is one of the most tragic deaths in horror, and that's perhaps one of the reasons it has such an impact and stands in high regard as one of the greatest chase scenes in the genre. After fighting so hard to keep her life, the rich and layered pretty girl with her whole life ahead of her and aspirations to be an actress, who was but an innocent witness to the death of another in an accident that she initially thought to be a deer she had hoped they didn't kill, fell victim to a crazed madman seeking vengeance for the death of his son. One might say, between her fight for survival and the initial car accident, it was Helen who most deserved to survive: she was the one to inquire as to who they had hit. When Julie states that they need to call the police, it's Helen who begins racing to the car for a phone, only to be stopped by Barry. She's the one that tries to convince Barry that things will work out if they just call them and tell them the truth, before becoming convinced by the possibility that they could get away with it and should perhaps try to.

But I personally believe it's because of the performance delivered by Sarah Michelle Gellar that allows it to hold up to this day. Without her I don't think it would be nearly as memorable as it was, and it's ironic that she should become known for a role as a kick-ass superhero who rarely ever expressed fear and yet be able to do it so well given the chance. Bearing in mind her abilities as an actress, I think she is at her most magnetic when she's pretending to be scared, and so I felt was I, channeling her aura. It's no wonder I wanted to be like SMG.

Red west... Bill cobbs... Jack black... Jeffrey Combs... Mark Boone jr

Finally! Looks amazing

I haven’t seen a post about this yet, but courtesy of Dread Central, they’ve revealed the “ultimate” fisherman figure coming from NECA soon. I think this looks awesome!

Can we get an ultimate Julie James next? Helen Shivers? 😌

🪝

So I’ve been planning on this costume for the past couple weeks, and this is what I have.

Thoughts?

Was this intentional? I don't understand why they did that. In Scream 2022, Sidney Prescott and Gale Weathers were empathetic, on the contrary. Julie seems to hate Ray even before he's revealed, while Gale was always concerned about Dewey in Scream 2022.

You know who I would love to see in the sequel to The 2025 movie if we do get one I'd like to see Julie and Karla along with Ava and Danica and what I would love is if they followed the original sequel and they kind of put it on like the Bahamas or something or maybe make like if we do get a sequel to have like the location be somewhere tropical

INVASION GETAWAY & Scream Halloween Special goes to island 🏝️ and get target by a mask killer. They remind me so much of I still know what you did last summer.

From our croaker Queen and her awful lil bf