The Screengrab

Hey, remember Kevin WIlliamson?  Sure you do!  He was the highly paid screenwriter who was going to revolutionize the horror cinema for a new generation with his 'smart' thrillers, starting with Scream in 1996.  Unfortunately, it turned out that by 'smart' he meant 'marginally rewarding for those who had spent as much time watching crappy horror movies as I did'.  His moment quickly passed, and in the 2000s, torture porn and J-horror have become the new touchstones of Fangoria fans, while Williamson went on to a whole 'nother kind of showbiz glory as the creator of the slasher-deficient Dawson's Creek.  Still, he meant well, and about ten years ago, his movies were about the only evidence that could be found that the genre had any life left in it at all.  So why not give the guy a break and make one of his most famous films the subject of an entry in Summerfest '08, the weekly Screengrab feature where we review movies with the word 'summer' in the title to give you something to do for a couple of hours while you're waiting for the potato salad to cool?  If nothing else, we can guarantee you that this week's installment is going to be a bit more fun than the gloomy 1950s psychodramas we've featured for the last couple of weeks.   

So strap on your fisherman's slicker, polish up your favorite boat hook, and join us for a look at 1997's I Know What You Did Last Summer!

THE ACTION: Julie, Helen, Barry and Ray are a quartet of remarkably photogenic North Carolina teenagers who happily correspond to some of our very favorite big-screen stereotypes (respectively, the good girl, the wannabe starlet, the party boy, and the jock).  On the Fourth of July weekend just after their graduation, they're cruising around one nigher after a fun trip to the beach, and wouldn't you know it, their car just happens to plow into a shambolic wino whom they are forced to leave for dead.  Hey, it's happened to all of us, right?  Let those who have not accidentally run over a wino cast the first stone, that's all I'm saying.  A year later, they find themselves wracked with guilt and unable to fulfill any of their teenage dreams, except the dreams that involve staying drunk all the time.  That's when they get a mysterious missive reading "I know what you did last summer", and a number of their friends start to turn up dead, the victims of sharpened implements wielded by a dead ringer for the Gorton's fisherman.  Which one of them has turned on his or her friends?  Or is it some phantom stranger who has it in for them?  And which horror movie cliches will Kevin Williamson take pokes at while pretending he's above them in his own screenplay?  Only time will tell, or looking at any number of movie spoiler websites.

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It’s rare that the screenwriter for a splashy indie film will get as much or more attention than the director, but that was the case when The Usual Suspects hit it big in 1995. Boyhood friends Bryan Singer and Christopher McQuarrie first collaborated on 1993’s Public Access, which went nowhere despite winning the Grand Jury Prize at Sundance. Their second effort become a modern crime classic, and there was no ignoring the fact that McQuarrie’s twisty narrative and twisted characters contributed greatly to the success of Suspects. In fact, when the Academy Awards were held the following year, it was McQuarrie who walked away with the Oscar for Best Original Screenplay.

It was Singer, however, who used Suspects as a launching pad to a blockbuster career.

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Kimberly Peirce's first feature, the 1999 Boys Don't Cry, starred Hilary swank as Brandon Teena, the cross-dressing woman who was murdered by a couple of male associates who had met her when she was presenting herself as a man. It was one of the biggest indie success stories of the period and made a star of Swank (who won the Academy Award for Best Actress for her performance), who had previously been best known for The Next Karate Kid. Of all the up-and-coming filmmakers who managed to get their bids in just before the millennium turned, Peirce has been perhaps the most conspicuously missing in action since. Now, nine years later, she's back with her new film, Stop-Loss. The title refers to the "loophole" in American soldiers' contracts permitting for "involuntary extensions" of their tours, as "national security" is deemed to require it. Peirce learned about the so-called "back door draft", which the military has been relying on in the face of a drop-off in recruiting numbers during the Iraq war, from her half-brother, who enlisted after the terrorist attacks of September 11, 2001. Peirce herself had responded to 9/11 by "traveling the country in 2003, interviewing military men and women and recording homecoming parades for a potential documentary about soldiers from sign-up to return." Then she started tinkering with a script for a fictional film called "AWOL." It wasn't until she'd listened to her brother's stories, and watched his cache of videos made by soldiers overseas, that her ideas began to focus around the idea of a patriotic soldier (played in Stop-Loss by Ryan Phillippe) who wanted to serve his country and has done his time but now wants to be allowed to move on and live his life. The army has other ideas.

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