If there were two things the teenagers of the 1990’s were all about, it was hip slashers and even hipper soundtracks. No stranger to mopey youths, Dawson’s Creek writer struck iconic success with Scream; hanging with the cool crowd and giving a real, “get a look at those guys” to old school horror tropes. Striking while the iron’s hot, he fired out the less-revolutionary but still memorable I Know What You Did Last Summer, an adaptation of a murder mystery novel that the studio quickly realised was not Scream, and promptly made it more like Scream.
People must’ve really wanted this on their mix-tapes while boxing at the local dockside gym.
Devon: There is a common belief held by those in the anti-nostalgia camp that claims the era you grew up was never as good as you think it is. Having covered nineties and noughties culture before, I’d say that neither of us actually came into this with rose tinted glasses.
I’ve seen and enjoyed the film before but couldn’t immediately recall any music as I could with ‘Red Right Hand’ or ‘School’s Out’ from Scream, and we’ll discuss why that is for most of this album. But honestly, this was a fairly solid jam.
Alexander: I was definitely jamming to both the film and the soundtrack over the last couple of days. Starting this album is an absolute bop; very upbeat and an invigorating rip-cord for the start of a quintessential teen slasher.
HUSH kULA sHAKER
A: The soundtrack works scarily well as background work music. Hard to admit that a band called Toad the Wet Sprocket could be almost relaxing. It’s a cheerfully ironic song to start, as if to say, “hey, these hot teens are being killed, but we’re having fun?!”
D: It feels appropriate given the well covered song and Kevin Williamson is the go-to guy for covering horror tropes. The irony is apparent here, especially given the track-list sequencers chose this cheerful bop to open the album. It’s actually played over the end credits as a gleeful cherry on top to the tacked on shock ending.
A: After a gloomy murder mystery, there’s an abrupt re-emphasis on fun at the end. They want people spilling out the cinema on a hot summer evening shaking their Rachel cuts and JNCO jeans, not moping around after Ryan Philippe was just gutted before their very eyes.
D: The summer vibe really shines through the film’s moody aesthetics in the soundtrack. It is a surprisingly story heavy slasher but they do want audiences to leave in the same mood Philippe was in jamming to those Mighty, Mighty Bosstones.
A: We can presume from a later song choice that they also want the kids to drive home drunk, thus creating their very own version of I Know What You Did Last Summer.
D: That’s viral marketing, baby! Plus, ocean life is becoming more endangered in today’s climate, we need a fisherman cull.
A: Now it should be noted that the DVD I purchased today (£1 at the Reading branch of CEX) contains a little bubble on the back, “the hit U.S. soundtrack featuring ‘Hush’ – previously unavailable – is out now”. This song was a legitimate selling point of the album, which is a large factor in our fascination with older soundtracks that we just don’t get nowadays selling The Album as a wholly additional experience.
D: People must’ve really wanted that on their mix-tapes while boxing at the local dockside gym. I am in support of the seaside town location, it helps the movie stand out in the subsequent swathe of slashers, but it seems like an odd gym for rich jock Philippe to be frequenting.
A: I adore the setting, in general I’m a huge seaside person, and the gloomier it is the better. As two Brits, we practically need to leave the country to visit a beach with actual sun. But yeah, that gym feels like you might pick up a couple dozen STD’s from the equipment.
D: Which moves us onto the next track, the gloom not the venereal disease. But with their album covers, that’s not entirely out of the question, too.
sUMMER BREEZE Type O NEGATIVE
A: The opening to this film is fantastic, I love the incredibly long helicopter shot over the ocean that makes the town feel entirely isolated from the rest of the world. The way it transitions seamlessly into the original score and just continues to spin and focus in on the man who sparks the entire mystery story.
D: An incredibly mood establishing opening, and if Type O Negative was played during the credits it definitely would’ve left audiences pretty bummed out on their way home.
A: Especially bummed out if they went to a record store afterwards and found Origin of the Feces, of which the album cover is frontman Peter Steele’s exposed anus. Take my word for it, this is the kind of dark subject matter we research for these damn things.
Despite all the anus brandishing, I like what I’ve heard of Type O; the gloominess of this one is exceptionally atmosphere building. Last Summer definitely went for a thicker, more adult attitude than Scream does, which has more playful, slinky vibes.
D: It all works appropriately being this doom metal cover of a famously cheerful and relaxing song. Getting across the story concept of these teens in the prime of their lives in that summer breeze changing their lives with a horrible accident and secret. For an album it’s a great tonal contrast to ‘Hush’, which gave me hope this track-list would be a decent variety of 90’s rock.
A: I definitely prefer this song to Hush; that annoying neo-psychedelia you get on car adverts. ‘Summer Breeze’ is that tune you heard coming out of a dark club and were scared to walk past. Funny looking back at these albums, just to see how easily all forms of alt rock could co-exist, there really wasn’t much of a jump between big-chugging butt-rock to acoustic singer-songwriter material.
D: For the most part this album does weave through the sub-genres, definitely doesn’t slog down into too lower moods as other albums covered here. The sequencing is fun in going from Kula Shaker to Type O and then Offspring, like an older angsty teen and their hyper pop-punk sibling.
This album does start very eclectic but following that metaphor, after young Mikey adopts cargo shorts as his adolescent cocoon he clearly suffers a first breakup along the later tracks.
d.u.i. The offspring
D: We could, and should, have a whole other article discussing the fashion in this film. Is is painfully an eye sore as most rocker teens? Not so much, if anything it’s egregiously too aesthetic, like Parker Posey and Michael Hitchcock in Best In Show, looking like a JCPenney line-up.
A: Freddie Prinze Jr does not look like any fisherman has ever looked. There is no chance that he works in the vicinity of rough ocean spray with that perfectly teased hair.
There’s using costuming to inform us the protagonist is vulnerable and innocent and then there’s Jennifer Love-Hewitt rocking up at her mum’s house in oversized dungarees wielding a teddy bear. One step away from putting her in a bonnet with a lollipop.
D: I don’t know whether it’s his hair, his clothes, or his general demeanour but the word doofus kept popping into my head whenever Freddie was on screen. I mean that in an affectionate way, but he is such a gormless doofus. I’m pretty sure I can narrow it down to his constant expression, there’s not a single shot where it doesn’t look like someone said his dog just got ran over.
A: That’s so true. He would’ve been good in a Farrelly Brothers movie, it’s the exact right reaction for when you fill a toilet with shit and the person outside says the flush is broken. Even when his girlfriend is literally being strangled by his friend, he’s just like, “aw jeez, no, that’s not right”.
D: We need to allocate time for Philippe’s insane performance, it’s something special for such an arrogant jock performance out of a cream cardigan twink. Back to the music, I was surprised watching it this time after the album that the song ‘D.U.I.’ is not used for the actual accident.
A: Obviously too on the nose for such cerebral cinema. Then again, is it entirely on point as Freddie does acknowledge in their defense he wasn’t under the influence while behind the wheel but having it spilled all over him the cops would never believe them. As a song, this gives me very strong childhood vibes because I was a big ‘Springhead.
D: In my youth I didn’t imbibe in the ‘spring but as someone who enjoys travelling back for these soundtracks of the era I do enjoy them, they have an infectious positivity in the vein of Blink 182 that I can get behind. I must’ve taken in second-hand ‘spring from the skating games I played, however, so I wait for the right song to unlock that nostalgia.
A: For anyone who played Crazy Taxi back in the day the words, “are ya’ll ready? Here we GO, YAH YAH YAH YAH!” will forever be ingrained in their memories. That would’ve been an appropriate track of theirs to use for such reckless driving.
D: We both noticed the latter half of Last Summer features far less licensed music, which makes sense as the stakes are risen and the tone of the film wants us to take the killings fairly seriously. Running through the songs so far, I’ve noticed the first act particularly is rife with tunes, suggesting a carefree college exuberance which is then more harshly contrasted after their hit and run with far less music.
Other films, like Prom Night and The Burning feature incidental crimes that unify the protagonists, but those are used right in the prologue and then build their teenage characters still in the prime of their lives. The soundtrack here appears almost to be used as a way to signify the abrupt and uncomfortable jump to adulthood in which life isn’t one long beach party scored by butt rock anymore.
A: When you’ve run over a fisherman and he’s now trying to kill you, you have to re-evaluate your life and consider maybe you’re too old for The Offspring now.
D: Whether it supports my idea or not, ‘D.U.I.’ is a good indication of how many of the later tracks are incorporated. The song is played during a transition moment and roughly about four seconds tops are featured in the film itself. A number of songs are played for barely a verse, and yet certain songs featured and credited that are played far longer and more prevalent are strangely absent.
A: There are some big omissions here, but there were also some big emissions from me when this thing got scary!
[Note: Let the record show in our conversation I let that one sit for around a minute.]
D: It is a weird film for being scary. As we’ve addressed the genre and story conventions already, it’s written as a mystery thriller that if performed by adult actors and featured less superfluous murders could be from Hitchcock. However, given the teen cast and slasher re-invigoration from Scream, the studio pressured in more secondary characters being killed for a body-count, despite it being a revenge story, and that shock ending open for sequels.
The film has these elements padded into it to cement it into the horror genre, but the more you analyse it, the more awkward a fit it is for those conventions. Scream is held up as the gold standard not just for addressing the conventions but purposefully going through them so skillfully. Last Summer features only four primary protagonists, which highlights the obvious victims from the clear love couple, and fails to utilise a concise location to corner the audience.
What I mean is Freddy Krueger is scary because you need to sleep, most people spent their summers out in the woods to be scared by Jason, Scream terrified people because it focused on home invasions, the last place you wanted to go after leaving the cinema was back to a quiet and empty house. Last Summer has a unique and interesting setting but most teens aren’t usually hanging around docks and beauty pageants to emphasize with that fear factor.
A: Scream is scarier and a good reason is the violence is depicted as brutal. When I think of the deaths, I picture insanely sharp knife actually cutting into Drew Barrymore and the sheer terror on her face. This has some bloodshed but aside from the suddenly violent hook to the jaw with Johnny Galecki, some guy in a rain mac is nothing compared to Ghostface.
D: Killing sprees in these movies have to follow some pattern or flow for the audience to anticipate while the characters figure out the motive. The deaths of Galecki, Gellar’s sister, and that police officer are all so transparently pointless, while the killer does unexplained things like cutting Gellar’s hair or leaving Galecki’s crab covered corpse in the trunk of Love-Hewitt’s car to scare her.
Which never serves a purpose, it could attract police attention to them, or make her seem like the culprit, but it disappears as easily as it appears. Either the killer was hidden behind some bushes moving this body around in broad daylight or, as Philippe suggests, the crabs carried him away.
kID green apple quick stEp
D: I have never heard of half of these bands but Quick Step are pleasantly good. A nice middle of the road track, definitely of that Deep Blue Something school of alt rock. Deserving to be in the treasury of promotional music videos for films, if there’s one thing better than a pop-cultural soundscape it’s one where the actors get to play around in the roles.
A: Always gives the impression the cast had a lot of fun during the shoot, enough to stick around each other for a while longer. If the film wasn’t as referential as Scream then the video is; a Rocky Horror Picture Show party featuring Michael Myers, Hannibal Lecter, and that cheeky fisherman. Mirroring the film, a solid chunk of the run-time is entirely Sarah Michelle Gellar being chased while Freddie Prinze Jr. is uninvolved.
D: What a weird juxtaposition that is; a fairly broody and humourless movie paired with a very breezy and fun song that wouldn’t be out of place in American Pie. Tracks then that despite the effort in securing the actors for an official music video, only a brief snippet is played during the film to establish a carefree college setting.
A: They use their songs extremely sparingly, despite them being sold as, to quote the DVD again, “a trendy soundtrack”. And that’s Maxim who said that so you know it’s true. God, how does the very word trendy feel culturally dated now?
D: Well, it is trendy, that’s for sure. In the full review, Maxim ended with the endorsement, “and that Ghost Whisperer’s got a stellar pair of baps, get in!” I cannot imagine anyone who reads Maxim was also listening to L7.
this ain’t the summer of love l7
D: A strange entry in that I can’t recall it’s actual use in the film, it’s definitely credited but there are a few songs along with this that I did not notice being used.
A: I didn’t hear it either, maybe they were desperate for another song featuring summer and couldn’t get Fear Factory to cover The Lovin’ Spoonful. It does help build a mood board to accentuate the film concept and the muddy guitar backing also pairs well with Type O Negative.
D: A stronger hard rock choice to add some punch among the (summer) breezy selection. They have a very defined style with the bass-y grunge instruments under the high pitch vocals. One of the few tracks with an edge that fits a horror soundtrack.
A: It absolutely fits horror, in fact, L7 have such an old school punk rock styling this could fit right in with the Return of the Living Dead soundtrack of psychobilly rebellious needle drops. What wouldn’t fit…
losin’ it Soul Asylum
A: If this was made now, what with synth and ’80’s pop being big like It Follows or The Strangers: Pray at Night, ‘Cruel Summer’ by Bananarama would fit extremely well. Soul Asylum does not fit anywhere on this planet. Just another pop punk ditty that lacks the punch of The Offspring, particularly because I didn’t notice it in the film.
D: It’s the alt rock equivalent of white noise. A bump in the road, too, where I worried the remainder of this album was going to fizzle off into limp butt-rock territory, we’ve been burned by those travels before.
A: At this stage I’m thinking is ‘Losin’ It’ the name of the song or a description of the quality of this album? A dud but luckily the mood picks up with a pop rock song that’s a lot more memorable. Because it’s a Beatles song.
Hey bulldog Toad the wet sprocket
A: It does have a very pleasant opening guitar riff, sounding like something from a Tony Hawk game. Though, is it an effective horror soundtrack if it doesn’t feel out of place as Chad Muska is doing a natas spin on the Sweet Susie? I guess this cover is to appease the one person over forty who saw this after actually reading the original novel.
D: As far as I’ve read, there’s never been much acknowledgement of how bonkers it is to casually feature a Beatles song, even a cover, in a ’90’s slasher movie.
A: It doesn’t sound exactly like a Beatles performance; the band does a decent job at keeping the general melody and structure but playing it with a ‘modern’ style. This track is probably a good introduction to alt rock for an older fan of more traditional rock and roll. The imagery of that man visiting his local HMV in 1997 is pretty special asking for, “one Toad the Wet Sprocket, please.” Which is not too eccentric a name if they were into music of the earlier era with The Flaming Lips or The 13th Floor Elevators.
A: In that case, he’d best get this album; we’re venturing into properly appropriate surf-rock with a psychobilly sensibility. Toad the Moist Sprocket blend comfortably into a chill college scene, but this the band that shows up front and center on-screen.
My baby’s got the strangest ways Southern culture on the skids
A: They get to play for some unappreciative beach-drunk college kids who were probably wishing they could’ve got Creed if they asked their dads to pitch in a bit more. I like this song though; looking into the band they seem like a very cult item who apparently do a lot of songs about fried chicken.
D: Creed always seems a missed opportunity in every ’90’s soundtrack. Almost, key word, a shame they were only in a handful such as Scream 3, The Faculty, and Halloween H20. Back to our point on the grueling bridge to adulthood, a lot the bands give a beach party playlist and yet our romantic couples moments early on are the most sand we get. Post-incident, everything sea adjacent becomes more industrial as if the only way out of here is hard work.
A: Most horrors are reflective in someway to the core demographic, it’s just in many where the real issues like early responsibility in being a camp counselor or babysitter, the struggle with that is embodied by the physical threat. Whereas here, we have the killer who has his own story as well the teens coping with growing up like Gellar’s crushed dreams working in a department store and Prinze Jr.’s pretty boy forced into menial labour.
D: Philippe’s self-satisfied, “so you grew up to be a fisherman” feels like a sad but prescient comment on post-school years. The plucky youths of Elm St. and Crystal Lake, aside from those damned shock endings, have overcome the present literal threat while still basically being in the prime of their lives. It’s not a character study level of development but they aren’t the same people from the start they are at the end. Freddie can save the day and get the girl but he’s most likely going to go back to working on cold boats in tank tops and listening to the Din Pedals.
A: Plus those numerous scenes of just making Gellar’s character increasingly depressed before an extensive chase and kill scene. Her entire arc in this feels like an elaborate deconstruction of the blonde bitch archetype in this genre in which hard reality ravages her more than any fish hook.
D: She even has to give over her tiara to the new beauty queen! Presumably vacating the mansion they signed over to her,too.
A: That is a rare moment of levity after Philippe is brutally murdered but no one believes her and that judge politely requests the tiara, as if boyfriend slaying isn’t devastating enough. I do love that everyone is holding her back confused by her hysteria when she is very actively witnessing a murder, that fisherman was so fortunate everyone’s reactions were so slow.
D: Well, her outburst is very rudely interrupting that stellar performance of ‘Fame’, yet another hit snubbed on the album in favour of dull emotional rock from the likes of Din Pedals.
WATERFALL tHE DIN PEDALS
A: I’m with Philippe in turning this clunker over. With so many scenes of cruising coastal environments, I have to imagine this CD has been worn out in The O.C.
D: ‘Waterfall’ and the very next track serve a sudden double hitter for emotional rock. To me, they get across the intention of a young adult mystery over the forced horror elements. You raise a great point, there is a surprising amount of car travel as opposed to most isolated location settings for horror. They don’t know Galecki gets ganked for a while and even after Philippe is ran over, he’s not simply slashed there and then. They don’t really have the last resort impetus to escape until quite later with most of the suspense being blackmail and threats.
A: It doesn’t have the structural tightness or constant momentum that Scream has when there’s a steady supply of bodies along the running time. There’s long stretches of navel gazing and investigating which carry over from this being a novel. In today’s entertainment climate this could easily be a TV limited series event to really flesh out the characters.
That way you can elaborate a bit more on the early victims to add some weight and purpose and when the protagonists come under threat in, say, episode three or four then it seems a bigger deal. Hell, the fade out of Philippe ran over to laying in hospital is an episode cliffhanger already.
CLUMSY our lady peace
D: Get David E. Kelley on it after he’s done season two of Big Little Lies. That way we can squeeze in the cross-promotion with our other series if Adam Scott plays an affable goofball who just can’t get the hang of catching crabs.
A: I can imagine Ryan Murphy sinking his teeth into something like this. I know you wanted something a little more prestige but you can imagine the Lady Gaga cameo in Anne Heche’s part. On that note, it made me laugh that Heche’s character yells, “get out of my house!” when they’re out in her garden. They should’ve brought her back; coincidentally on that Jamaican island yelling at kids to get out of her tiki bar.
D: Honestly, after seeing this a couple times I still use the wiki to double check what her role in all this is. They spend several scenes back and forth at her house uncovering the truth, perhaps because that truth is so underwhelming I forget every time. The major disconnect between the studio mainstream slasher and literary murder mystery is the killer; Ben Willis.
A: Even inside the guise he doesn’t come off as intimidating, and outside? Murder, She Wrote levels of flat motivation, if Freddie didn’t comically swing him out into the ocean then Jessica Fletcher was waiting at port with the police.
D: Wait, I’m mentally running through Heche’s involvement and the only contrived reason Hewitt could clear her as innocent is she receives a threatening note, too. She didn’t have anything to do with the incident, though? She lives out alone, was she ever in real danger? He killed plenty of tertiary characters…
A: He’s just got anger problems.
D: Clearly. For a revenge murderer he kills a lot of random bystanders; it’ll probably turn out his siblings, his boss, his postman, his dentist all got the same notes. The only reasonable train of thought for their kills are covering his tracks; Galecki was there just after the incident and may have suspected, and I suppose Gellar might’ve confided with her sister.
A: He’s removed as a suspect far too early which conflicts with the mystery angle. It’d be like introducing Cotton in Scream 2 and having him be the first victim, which he is in the next sequel. For most of the film, Freddie is treated as suspicious; turning up right after events, disappearing for long stretches, using his dumb boat name as an alias.
One of the problems is everyone spends so long driving around separately he never really feels close or far enough to be a real suspect, the whole notion of him doing his own investigation as Billy Boy is so last minute it’s blink-and-you-miss-it. Though it does invite the classic, “wait, I can explain!” trope because if you’ve got one fleeting opportunity to regain someone’s trust as they run away, just waste it on a preamble.
D: On that note, wow, we sure explained our thoughts on ‘Clumsy’.
A: People make fun of bands like Blink 182 for whiny voices but, blimey, this takes the biscuit and then sings at it in such a harsh tone that it crumbles. Weirdly, it’s one of the few songs with a music video so I had to double take at the 3.5 million views. That’s either an impressive amount of Last Summer fans or a disappointing statistic of people who actually like this person’s terrible singing.
D: We’ve hit probably the worst of the mid album slump that these soundtracks have a history of. The next few tracks aren’t majorly better but it doesn’t leave us in the dumps.
ONE HUNDRED DAYS FLICK
A: The only Flick I know of is the handsome little fella from A Bug’s Life. But a band called Flick? They don’t even have a Wikipedia page, get the fuck out of here. Another case of chronic ’90’s alt-rock voice, though thankfully not as severe as the last one. Less offensive but pretty damn bland.
D: There’s a good overall melody and a non-offensive undercurrent for those surly teens getting over their drama. Speaking of non-offense, is there so little to actually say on the next track that it borders offense for us reviewers?
great life goat
A: We were on the right track with car advert comparisons; the YouTube description claims, “you know it from the Kia commercial!” followed by the ringing endorsement of “good song!” Both statements are debatable, though we won’t here. We both agree it’s a soft dud and a hard pass.
D: I can’t imagine this being front and center for a commercial; it was rightly used as non-distracting transitional background music in the film. One could debate in context that it’s a welcome reprieve from the samey emotional rock we’ve been getting but this is the musical equivalent of an inverse speed-bump. I realise a traditional speed-bump has the same effect and that’s technically a pot-hole but I’m coining that phrase to describe the utter lack of oomph this track delivers.
A: This one has been the wettest of farts. That worst kind of ’90’s spiritual peace out music that’s about as pleasing as a dry piece of toast.
2 wicky hooverphonic
A: We’re getting better here, but then that is mostly because of the giant Isaac Hayes sample the entire track is built on. it’s hefty; basically just the Hayes’ original with the female vocals sung over it. A nicer song but we’re veering far away from the film’s aesthetic and horror entirely at this point.
D: His name is credited along with the band, and we’ve had the Beatles, Seals and Croft, and Isaac Hayes in a horror but none of them for the recognition factor. I certainly don’t see many dock workers listening to Hooverphonic while reeling in their catch of the day, but I have never seen a fisherman like Freddie Prinze Jr.
A: If I may be so bold, I’d say we don’t have one genuine dock-rock track on here! We’ve managed to run the gamut of alt-rock to Euro trip hop in a strange appeasement to every teen of the era. People liked their low-key tracks to chill to, which is antithetical to the adrenaline or being murdered.
D: We’ll get to the song used for the beach-side romance scene, I can imagine this in the back of any of the Billy and Sidney moments in Scream. Which makes me wonder if Freddie is so absent in this compared to that film as Williamson does use the trick of the boyfriend as the killer repeatedly, if he was all over Jennifer then people would assume it must be him. He’d then try the double bluff as the boyfriend in I Still Know is the killer, which is… bad.
A: Odd that he was launched into fame for lampooning the genre and wrote himself into a niche of clever teen horrors. He managed to mix things up with the great The Faculty but drop the ball here.
D: Hang on, I had to research this and because he stuck with the Scream franchise we both assumed he kept on with Last Summer. The sequel to this was written by Trey Callaway who has gone on to have a steady career but at this point had only written the animated series Timon & Pumbaa. Now that we’ve dodged that blunder, we seem to be rocketing through the last tracks so let’s tear into I Still Know because it’s real dumb.
A: More than anything it’s a bit frustrating; early on we have the self-aware discussion of the hook-man, which looking back, is totally coincidence the killer chose that get-up and doesn’t play into the story at all. Williamson takes a chance to relate the urban legends from the 1950’s into the generic conventions of modern horror movies, referencing the pre-marital sex equals punishment trope.
But then sex doesn’t play into the narrative at all, they run someone over. And the teens of the tale didn’t run over the escaped maniac on their way to lover’s lane, causing a direct cause-and-effect for their deaths. The Rashomon dissection of the legend feels more like something he considered for Scream, which has the characters questioning the motives behind random slayings.
D: That’s a pretty good breakdown of a useless scene, and it’s a sign that a sequel to this is even more misguided as, like the intention of urban legends, they can supposedly occur anywhere because of their random and vague nature. The larger cast of teenagers in I Still Know are killed because of their friendship to Jennifer Love-Hewitt and have no involvement in the incident of the first film.
A: It’s been a good while since I’ve stomached the sequel, all I remember is Jack Black dreadlocks.
D: We’ll deconstruct it fully if the soundtrack is notable. In case that’s the distant future, I have to remind you it opens with the killer faking a radio competition to lure the victims to an island despite the first killings being in their home town. The new writer also leans heavily on Williamson’s career with two killers, one being the boyfriend who is named Benson. That’s his name because… he is Ben’s son… as in Ben Willis the original killer.
A: HA HA HA HA HA, I had somehow forgotten that. This is after us complimenting the original setting so positively, they absolutely needed to Hook Man Goes Hawaiian.
D: He even announces it loud and proud as if everyone is meant to be impressed. A multitude of sadness for these two killers; his birth name is Will Willis, his dad lost his hand and was swung into the ocean, he didn’t help with the original revenge plan but had to set up this nonsense, he gets stabbed by his own bumbling dad…
A: This first story is a fairly open and shut case with an obligatory shock sting to get the audience. The sheer fact that the only two survivors do not want to talk about what really happened ensures that this won’t become an urban legend, or legacy in the vein of Ghostface. It’ll never be as lame as Ben Willis returning as a zombie ghost in I’ll Always Know What You Did Last Summer, having achieved his murder goals so well twice he’s now the literal spirit of the hook-man legend.
D: The only offspring people cared about after leaving this film was where they can buy that catchy punk song that appeared for about three seconds. You could say it don’t mean anything, which is a fine track in my opinion. Complimenting the scene of them investigating, the track also carries a slight sinister undertone to the smooth vibes.
DON’T MEAN ANYTHING ADAM COHEN
A: Reminds of down tempo tracks of Depeche Mode; the faintest edge tips it from peaceful relaxation to simmering and brooding. If you were to pick a track that the killer had on while he compiled that briefly shown shrine to his dead daughter, it’d be this track. Appropriately titled as his true motivations are so suddenly sped through to reach the finale that it truly doesn’t mean anything.
D: With only one track left on the official album, we’re almost at our own finale, aside from a slight epilogue. If the killer of I Still Know What You Did Last Summer had a playlist while he schemed a staged holiday competition it’d be this egregious entry.
A: An edgy young man’s song, for sure. If the original film had any message of maturation then the sequel and the choice to include this on the album does a real Benjamin Button. All I can really say about this is that it’s a Korn Song. It is a song by Korn and it sounds like Korn.
D: Korn manage the ability to not even sound like they’re from the same era as the rest of the tracklist. They’ve been banging their heads to their distinctive guttural spasms for some time but there’s such a dissonance in placing them in cultural history. Listening to them as we talk, they sound obtusely fitted in that mid-2000’s nu-metal phase. Yet accompanying the other bands we’ve heard, they seem shockingly out of place as well, avant-garde if you will.
A: Doesn’t even sound like the same medium; some of this barely scrapes by as music.
D: I won’t argue that, I wish there was a fancy antonym of avant-garde that denoted a cultural and aesthetic mistake.
A: Korn have scary longevity, and yes, I was a Kornhead like so many angry little twelve year olds who refuse to come downstairs for dinner. I’m not pausing Pro Skater 4 to eat, mum! Why don’t you pause YOUR FACE?!
D: The fact I was too contextualises a lot of why we do this.
A: Explains so much about who we are as adults. There’s a sense walking past the people that can name two or more members, those guys who definitely knows the bassist Munky.
D: Hey now, I don’t know who the fuck any of them are. I assume they’re all words like that; Munky, Gronn, Slumb, Trogld, etc.
A: Those are all correct. You left out mUck, t4ble, and slag. I feel like you were either a Korn kid or a Slipknot kid, those guys were seen as the more hardcore with rumours of murdering people on stage.
D: It’s a nu-metal band; I was only naming a selection of the seventeen members. After that trip down memory lane, those emotional feelings we’ve painted don’t correspond with the film at all. Particularly for the fact it’s not even in the film, and not that we didn’t notice it, but that it’s not credited along the rest. Was this particular song popular at the precise time of packaging? Did the people responsible for fairly decent sequencing feel pressured to tack on this unflattering addendum?
A: Aimed squarely at the people who weren’t old enough to see the movie but could buy the album. Last Summer comes across as targeting older teens who are leaving college, not the ones just starting high school.
D: The teens in the movie certainly weren’t out growing Korn; they were farming fish.
A: The fisherman just went mental at all those damned graduates getting into the industry and asking if he liked listening to Phish.
D: That was I Know What You Did Last Summer: The Album. Fifteen tracks that explore the subcultures of rock at the time and provide an enjoyable variety that rarely drags. However, we’re still not over that last note, and we’ve mentioned there are some notable snubs of music featured in the film. Aside from a few brass band and small town big band renditions, there are a couple licensed songs which are far more prevalent than half the actual packaged songs.
A: I can imagine owning this CD and flinging it out of the car CD player, and then car, the second track fourteen ends.
FORGOTTEN TOO UGLY BEAUTY
A: The first official snub is one I’m glad didn’t make the cut; for me, it would’ve brought the mood down too much.
D: I have to be pedantic here, and just here only, earlier you mentioned another song used for the car radio but I’m certain it’s this. During the romantic beach scene where they hope for their futures, this track plays quietly and fades into the diegesis as Philippe switches it to the next song to discuss.
A: Imagine this being one of the last songs you hear as a car speeds towards you.
D: I personally find it okay, for an album catered to teens this is the make-out session of the track-list. For a horror, play this in the third act where the plucky but naive final girl loses her virginity before the killer closes in on her.
A: That could work for the saddest slowest love-making scene ever filmed. What you really want for a horny time is anything by The Mighty, Mighty Bosstones.
D: Obviously we have very different fuck jams; I have to finish to Type O Negative, of course.
Wake up call THE MIGHTY, MIGHTY BOSSTONES
D: The final track and the most incredible omission given this is played during the incident that is the catalyst for the entire plot. Plus it’s The Mighty fucking Mighty fucking Bosstones. You cannot leave them off a teen soundtrack from this era, it’d be like Danny Elfman scoring a movie without some creepy voices going, “lalalalala”.
A: Fifteen spaces to fill for a decent track-list and they chose ‘Great Life’ over this. The biggest shame is that we both found this album to be as engaging as the film for once, and yet this exclusion has to be a downgrade. Were they not mighty, mighty enough for the soundtrack producers? To think a ’90’s soundtrack goes by without a single ska horn makes me physically sick.
D: If you watch the scene closely, it is peculiar how they manage to incorporate the music with nary a honk squeaking in over the vehicular manslaughter. Only after searching for the song did I discover it was Bosstones, which is a testament to how generically hard rock they sound minus the brass.
A: Honkless and hopeless, it’s how Philippe died as he lived. I suppose they wanted a gloomier mood, but still, it’s such a snub. If ever a remake comes to fruition, it should be all horns, all the time. That man is going to be plowed over by a horde of skanking.
D: This is going to have more horns than the horror movie Horns. Which I believe to be true anyway because Daniel Radcliffe only grows two horns in that, which is not a tough number to beat.
A: That about does it then for I Know What You Did Last Summer: The Album. We both strongly like songs on Batman Forever or Wild, Wild West but they sure had sequencing issues. This is a well put together compilation that surprisingly has some bands we’re interested in hearing more of, which is a win for the record companies and a large part of why these bizarre soundtrack albums were produced so significantly.
D: We can only hope that the soundtrack to Heaven is half as well produced for our boy Philippe.
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