All good stories start with an idea and a singular story to be told. From my knowledge of film, Kevin Williamson might be one of the only creators in all of existence to ever sell a project that mapped out not only the first film but its two sequels, rounding out a trilogy. The film, then titled Scary Movie, would go on to become Scream. The film not only put Williamson on the map as one of the most in-demand writers of his time, but also made Ghostface a cultural icon. The film, which celebrates 30 years this year, has garnered critical acclaim, oceans of fan theories, six sequels, and two television series. The film also allowed the master of horror, Wes Craven, to once again push the boundaries of the genre.
The only other person I can think of who has ever done this would be independent filmmaker, Jason Zink. Zink is the writer-director behind the film, Straight Edge Kegger and the 2024 Horrific Hope official selection, Looky-loo. On his last appearance on the Abyss Gazing podcast, Zink talked about how Looky-loo was envisioned as a trilogy from the start. He talks about the film as if each entry into the trilogy would serve as a singular act of the story being told. It’s a rarity to find a creator who is interested in telling an overarching story between multiple films. Most films, especially within the independent space, always feel like they are self-contained stories.
Sometimes those films can have the staying power that demands more entries. I often think about the 2024 film, Frogman, and wonder if a sequel was ever in their original vision for the story. The original film felt complete to say the least by the film’s finale. However, I am glad that I was wrong on that original guess. The independent film about cryptids returns with another entry that I’m hoping will lead to a trilogy. Enter Frogman Returns: a follow-up film that depicts a television crew on the hunt for the mythical fan favorite creature. It’s like Stu said, “these days you gotta have a sequel.” I think he might have been onto something.
Frogman, by itself, was a fairly safe paint by numbers found footage film. It carved out a great mythology that really seemed to only scratch the surface of its potential. Hints why I’m glad it came back for a sequel. With Returns, everything across the board is elevated. I absolutely loved how fearless and bonkers this film would grow to become as it progressed. Sequels can sometimes be hard to manage. They can commonly fall under the weight of sequel syndrome. Attempting to match the structure of the first one, recapture the magic of certain characters or just flat out try to create a carbon copy of what came before it. Frogman doesn’t do any of that.
While, yes, there are certain characters that return from the original, there is an organic nature to it. The original cast of Benny Barrett, Chelsey Grant, and Nathan Tymoshuk all elevate their performances and harness their characters like on-screen sorcery. There is a deep understanding of these characters—almost as if the actors disappear into these roles. Sure, that’s the job of an actor, but it definitely enhances films like Returns that lean strongly into the fantastical. Each performance brings a layer of grounded levity to the characters and to the story as a whole. It’s almost as if the performances echo throughout the story.
The two new additions to this story, Natalie Oliva Tran and Alexis Allotta, are wonderful additions here. Both performances are on par with the trio of returning characters and manage to give the film some familiarity while breathing new layers of emotion and tension into it masterfully. Tran, in particular, acts as the emotional heartbeat of the film. She is the anchor that elevates the film to strengths that felt lacking in the original. While the film already had a villain, of sorts, baked into its premise, it’s Allotta who marvelously adds extra spice here. She is simply sensational.
I don’t feel like it would be a Frogman movie without a showcase of practical effects. This film takes the love of the medium found in the first one and doubles down on it. I will say there is a slow burn to get to those portions of the movie, but it’s well worth the wait. The places the story goes demanded a bold journey into the gnarly when it came to the practical effects, and this movie absolutely rose to the occasion. The team of eight bringing these effects to life did a stellar job.
This film caught me off guard in a lot of ways. For one, the humor hits harder than in Frogman, which allows a more lighthearted tone to exist throughout the movie. It also allowed director and co-writer Anthony Cousins, along with his writing partner John Karsko, to really flex their genre muscles here, moving briskly throughout the world of comedy and much stronger dramatic beats as well. This film always swings big and manages to hit a home run with nearly every stroke of boldness it gives its audience.
Overall, Frogman Returns is an elevation on all fronts from its predecessor. The film is a masterclass in practical effects, alongside stronger emotional beats, comedic beats, and an absolutely bonkers ending that you won’t be expecting. Wherever you think this movie could end up, I promise it will still find some way to surprise you. The returning trio of characters are phenomenal, and the performances from each actor are nothing short of brilliant. Here’s to hoping there is a third one waiting in a swamp near you. Frogman Returns proves that taking large risks in storytelling while allowing quieter character moments to exist makes for true cinema.
RORSCHACH RATING:
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others. Music by Mallory Johnson and others. We do not own nor claim any rights. Frogman Returns is property of Shock Treatment Productions and Womp Stomp Films. We do not own nor claim any rights.
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