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Amazon’s ‘I know what you did last summer’ reboot has nudity and drugs but no hooks.

I would say this for a soft reboot from Amazon. I know what you did last summer: There is no wasted time telling viewers what kind of show they are in. Sitting on a hill with a troubled but frustrated look on her face, lead actress Madison Assamese speaks in a perfect, self-assured tone: “I’m sure you’re just sitting there thinking you know who you are. Yes, who are your friends, “she says. “I thought I knew. I was wrong.”

Screenwriter Kevin Williamson. Set a time to come up with a generation of meta-horror imitators. To scream Screenplay, but its 1997 marine pursuit cast its net into a more traditional pond. The loose shield of Louis Duncan’s 1973 novel, The Prospective Teen Slacer, generally calmed critics, but he understood what his audience wanted and gave without thinking. Killed in its creative phase and flawless cast of young, quarterly idols – Sarah Michelle Geller, Jennifer Leo Hewitt, Freddie Prince Jr.I know what you did last summer. His hook sank in the 90’s Mall Rat demographic.

On the other hand, this teenage drama is committing a fundamental sin for young people at any time: it is trying very hard.

Its basic basis. I know what you did last summer. Remains largely the same: a tumultuous teen, carjackings, and a veil that fails when the group begins to receive offensive messages for its crime from an unknown witness who They start killing them one by one. The killer could be their immortal victim, a stranger, or maybe any of them.

A twist on the original formula, however, the series revolves around twin sisters – Allison and Lenin. The two share a complex relationship: their mother committed suicide when they were young, and when Lenin moved fast (on the surface, at least), Allison remained depressed and moody.

Aseman – who, incidentally, is probably the closest Sarah Michelle Jailer Doppelganger of this generation – plays her roles with impressive distinction. The shape of the actress’s face almost appears to change from one character to another, depending on the impressions that belong to one twin or the other. Unfortunately, his accomplishments are not enough to save this indoor slog, which takes itself too seriously.

Like the 1997 film, it. I know what you did last summer. It has a loose shield of source material – but unlike the film, which at least based on its megawatt leads, this series doesn’t give us much to root. There is no Jennifer Leo Hewitt in the necklace, nor the fast-haired Freddie Prince Jr. fisherman with a golden heart. Everyone in this version is equally rotten and deceptive, from the insane Margot (Brian Tjo) to the moppy, moral fuck boy Dylan (Ezekiel Goodman).

As the series progresses, it moves beyond the foundation of the 1997 film. Four episodes have been made available to critics for review, all debuting on Friday, introducing a mystery that will likely dominate the show’s plot for the rest of the season. So far, however, the project feels like a shallow echo of things that have come before, clearly justifying its adolescence by dropping foul language like “Sauce” and “Merck”. it is. Riverdale. Without the camp, wandered inside. Happiness make up

Everyone in this version is equally rotten and deceptive, from the Insta addict Margot (Brian Tejo) to the moppy, moral fuck boy Dylan (Ezekiel Goodman).

In fact, Sam Levinson’s addictive HBO show is more than just a hit. I know what you did last summer.Drug use is equally central to make-up here, although Special K instead of heroin, and nudity are equally pervasive in both male and female, as is a specific misfortune that we have to believe from generation to generation. Are There’s a sex scene with full front nudity, and the show’s premiere includes a penis in the profile. All of these choices seem to be designed to capture both viral success and success. Pearl controversy Happiness Has been born

As far as popular franchise TVs are rebooted, I know what you did last summer. Far from terrible. It wisely just avoids teasing your predecessor again and involves some pleasant weird twists – like a certain parent’s relationship with a certain government employee, which I won’t spoil here – and even I also manage some creative assassinations, although so far no one in Williamson’s film feels as memorable. Yet it feels hollow – its plot in search of purpose, its characters hungry for an ounce of depth. Maybe that’s what teenagers want today – but if there’s one thing teenagers always like, they know when they’re being bullied.

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