Film

Attention slasher film fans! I Know What You Did Last Summer, the fourth installment in this horror franchise, opens in theatres on July 18! It is directed by Jennifer Kaytin Robinson, who co-wrote the screenplay with Sam Lansky and is a sequel to I Still Know What You Did Last Summer (1998). The film stars Madelyn Cline, Chase Sui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Gabbriette Bechtel, and Austin Nichols, with Freddie Prinze Jr. and Jennifer Love Hewitt reprising their roles from previous installments.

After five friends inadvertently kill a pedestrian in a car accident, they cover up their involvement to avoid consequences. A year later, as they try to move on with their lives, a stalker sends them taunting messages about their crime. Realizing that the stalker is imitating a legendary serial killer, they seek help from survivors of the Southport massacre of 1997. The plot of the new film takes place 27 years after the Tower Bay murders, when another hook-wielding killer appears and begins targeting a group of friends one year after they covered up a car accident in which they supposedly killed someone. 

There is some interesting history here for movie buffs. Plans for a fourth film in the franchise started in 2014, with writers signed to write a reboot with no connection to the previous installments. That version fell through. Then there was a 2021 TV series adaptation. And now … I Know What You Did Last Summer lives again! 

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Eddington, Director Ari Aster, known for Hereditary (2018) and Midsommar (2019), ventures into new territory with Eddington, one of a handful of films beginning to explore how COVID-19 reshaped American relationships. Set in a fictional small town in New Mexico, the film explores our collective pandemic experience through intimate human stories.

Aster assembles an A+ cast—Pedro Pascal, Austin Butler, Joaquin Phoenix, and Emma Stone—who bring gravitas to this examination of isolation and connection. The film captures the unique tensions of lockdown: how physical distance paradoxically brought some people closer together while driving others irreparably apart.

Eddington operates as both tragedy and dark comedy, finding Aster’s signature ironic sensibility in the pandemic’s absurdities—the bizarre rituals we developed, how technology (think Zoom) simultaneously connected and isolated us. The New Mexico setting becomes a stage where economic uncertainty and political division play out through intimate moments that are both heartbreaking and darkly funny.

More than a pandemic film, it examines how crisis reveals character through a lens that makes tragedy bearable by acknowledging its inherent absurdity. Aster structures the narrative as a meditation on fractured relationships, punctuated with moments of recognition—the strange social dynamics we all lived through—that transformed our collective trauma into the current absurdity all around us.

In theaters July 18, 2025. For more, click here.

As always, Marvel has pulled together a powerhouse cast to bring an oft-forgotten squad of superheroes into the spotlight in The Fantastic Four: First Steps. Joseph Quinn (Stranger Things, A Quiet Place: Day One) and Vanessa Kirby (The Crown, Pieces of a Woman) will appear as sibling duo Johnny and Sue Storm, aka the Human Torch and the Invisible Woman. Internet “daddy” Pedro Pascal (The Mandalorian, Materialists) will portray Reed Richards or Mr. Fantastic. And though you may not see his face in the film thanks to his giant motion-capture alter ego, Ebon Moss-Bachrach (The Bear, Girls) takes on the role of The Thing.

The film appears to be set on a “retro-futuristic parallel Earth” in the 1960s, meaning that the team gets to lean into the aesthetic and origin story from the comics; the quartet of superheroes was created from cosmic rays they absorbed during an early test flight for the Space Race. Pedro Pascal recently revealed that he took to the accent work he was being coached in so well that the directors had to ask him to pull back, stating that his Transatlantic dialect was verging on distracting. This movie is leaning into its aesthetic in a way that just might manage to set it apart from the other Marvel blockbusters we’ve seen limp through box offices.

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