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I know What You Did Last Summer reboot underwhelms at box office as cult classic maintains top spot

I know What You Did Last Summer reboot underwhelms at box office as cult classic maintains top spot

Daily Mail​20-07-2025
Sony's attempt to revive I Know What You Did Last Summer may have brought back the original stars, but it couldn't bring back the box office magic.
The latest installment of the legacy slasher, which reunited Freddie Prinze Jr. and Jennifer Love Hewitt, opened to a lukewarm $13 million domestically, the lowest debut in the franchise's nearly three-decade history.
Caught between two superhero juggernauts — DC 's Superman and Marvel's upcoming Fantastic Four: First Steps (which hits theaters this Thursday) — the horror reboot failed to make a splash.
This is a sharp contrast to the original 1997 film, which opened to $15.8 million and went on to gross over $125 million worldwide.
Released in the wake of Scream's success, I Know What You Did Last Summer helped define the teen slasher boom of the late 1990s.
With a tight, suspenseful plot — four friends cover up a hit-and-run, only to be stalked a year later by a hook-wielding figure who 'knows what they did' — it became a horror staple and cultural touchstone.
The 1998 sequel, I Still Know What You Did Last Summer, wasn't as well-reviewed but still pulled in over $84 million globally.
Together, the first two films built a recognizable franchise out of Lois Duncan's original novel.
The 2025 reboot follows the now-adult survivors, who find themselves drawn back into a fresh cycle of terror after a new group of teens faces eerily similar threats.
Ultimately, it landed in third place, narrowly beating out Smurfs and the polarizing A24 Western Eddington.
While the film's $18 million budget keeps it in the realm of possible profitability, its lukewarm reception didn't help.
Critics gave it a 38% Rotten Tomatoes score, and audiences were equally unimpressed, handing it a tepid 'C+' CinemaScore.
Even director Jennifer Kaytin Robinson took the underwhelming reviews in stride, cheekily tweeting just one word: 'camp.'
Meanwhile, Superman continued to fly high, hauling in $57.3 million in its second weekend and bringing its global total to over $400 million.
With a modest 54% drop from its opening weekend, the reboot is holding strong — a crucial win for Warner Bros., which is betting on the film to launch a new era of DC superheroes.
Spinoffs like Supergirl and Clayface are already in the pipeline, along with a rebooted Wonder Woman.
Other newcomers didn't fare much better.
The Rihanna-led animated Smurfs movie opened to a soft $11 million, despite a sprawling A-list voice cast, and Eddington, Ari Aster's Western satire starring Joaquin Phoenix and Pedro Pascal, debuted with a sluggish $4.2 million and a less-than-stellar 'C+' CinemaScore.
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ESPN analyst left 'mortified' as he piles in on woke backlash to Sydney Sweeney's 'racist' American Eagle ad
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'Downton Abbey' star Elizabeth McGovern brings Ava Gardner's tumultuous life to the stage
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So she turned to herself, watching movies and footage of Gardner to nail her speech patterns and reading whatever she could about the actor's inner life. 'I literally would act it out in my room to myself and then write it down. So it was natural to think of myself playing it, obviously, but then writing a part for somebody else to play, I couldn't think of a way to do it except by doing the acting of that part and then write it down.' Costa Ganis, her co-star, says 'she's doing something very bold and very daring and very scary' and he rarely meets a playwright so adaptable. 'I think the thing that's so fun about working with her is just that she's such a collaborator,' he says. Music helped McGovern the playwright McGovern developed the confidence to write her first play through songwriting. She is the lead singer and an acoustic guitarist for Sadie & The Hotheads, which released their debut album in 2007 and their latest in July, 'Let's Stop Fighting.' 'It kind of embraces a lot of different styles and then ends up with something of its own,' she says of the ethereal jazz-folk the band makes, which is waiting for an audience to catch up. 'We're still waiting. It's been quite a while, but I'm fine,' she says with a laugh. Costa Ganis hears McGovern's musicality throughout the play, an internal rhythm she understands: "So if something doesn't play right, she has a great sense of what sounds good and what moves things along." McGovern will be nearing the end of her New York turn as Gardner when the latest 'Downton Abbey' hits movie theaters Sept. 12 — subtitled 'The Grand Finale.' She admits that she and the cast initially dreaded returning after the death of Maggie Smith, an audience favorite. 'I think everyone was afraid that without Maggie, it's daunting to keep the thing going. But surprise, surprise, I think it's our best movie,' she says. 'It just kind of clicked.' McGovern, who like Gardner lives in London, does music, TV, and film but always finds room for theater, where the smartphones disappear and performers meet the audience. 'It's so healthy to have two hours where you only have one job and that job is basically just to be present and I really feel like it's good for the brain.'

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