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The opening sequence of Ed Burns' "Summer Days, Summer Nights" introduces all of the characters in an energetic seamless montage, the camera roving through the small houses, following a girl as she rides her bike down the street, waving to neighbors, each person heading out to greet the day. It's Memorial Day Weekend in a Long Island beach town. These characters all live there, i.e., they are "townies" or "locals," and they work at marinas, beach clubs, restaurants, catering to tourists and wealthy vacationers. Burns (and cinematographer William Rexer) toss you into the midst of the intersecting relationships of this small community. Everyone knows everyone, so this is an effective opening for this mostly-effective film. "Summer Days, Summer Nights" is purely an ensemble film. There is no one lead. Every character has their own arc, and their own reckoning to face about their lives. This is well-trod ground for Burns as a filmmaker (and in general), but there's no shame in well-trod ground, not if you care about the subject and present interesting characters, which Burns mostly does.

J.J. Flynn (Pico Alexander) just graduated high school and is spending the summer working for his dad (Burns) at a swanky beach club. He wants a different kind of life, so he pals around with rich kids and dates a rich girl (whose main characteristics are vocal fry and rolling her eyes). J.J.'s cousin Terry (Amadeus Serafini), a wannabe singer-songwriter, is staying with J.J. for the summer, working for the next door neighbor, a single mom named Claudia (Susan Misner) who manages a small marina. Claudia's teenage daughter Winky (Rita Volk) is in a funk because her rich boyfriend blew her off, and she sulks as she wipes down the boats at the marina. Claudia encourages Terry, a hottie with perpetual bedroom eyes, to befriend Winky. Suzy (Caitlin Stasey) a local girl who "got out," returns for the summer, and discovers that her high school boyfriend Frankie (Anthony Ramos) has been pining for her all this time. Debbie (Lindsey Morgan) works at the beach club with J.J. and a tentative relationship forms. Debbie is confident, J.J. is not. Some of these arcs work better than others. One arc doesn't work at all (Terry is supposed to seem cool and free-spirited, but instead he comes off as self-involved and pushy.)

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The film does not fetishize the period, although of course it shows up in the clothes, the cars, and most obviously the soundtrack, featuring Duran Duran, The Cure, Chaka Khan, The Go-Go's. Some of the needle drops are a little on the nose (Eddie Cochran's "Summertime Blues" makes an obligatory appearance), but they set the mood and also meld with the summery mood, which Burns captures, in the block party, the fireworks on the beach, sand between your toes, the look of early morning, the feel of a season of freedom before things get serious. Burns has been around for a long time at this point, following his opening splash with 1995's "The Brothers McMullen," made on almost no budget, with no big-name actors. He has continued to make films, with small budgets or even micro-budgets. His current series, "Bridge and Tunnel," taking place in the same period as "Summer Days, Summer Nights," was put on pause during Covid, but it is slated to return. Burns has grown as an actor and has settled into middle-age comfortably. He was born to play straight-talking dads, and he's very good here.

It can feel navel-gazing in the extreme, especially since everyone has no problem speaking out all of these complex feelings at the drop of a hat. By the same token, this fear of regrets, where every choice feels crucial and irrevocable, is often what it feels like to twentysomethings. Burns' filmmaking is confident and his attitude is anti-sentimental. He captures the atmosphere of a town where a person can leave for five years and come back to find that nothing much has changed. A visit to a local pub means you run into half your high school class. I grew up in a beach town like this. Burns gets it right.

The movie opens with a dreamy narration about how Diana and David (Demi Moore and Woody Harrelson) have been in love since high school and have stuck together through thick and thin and architecture school, until - well, until they go broke, and David is threatened with the loss of his masterpiece, a house on the beach in Santa Monica.

We see the house, which in my opinion is so architecturally undistinguished that the filmmakers should have ordered another one, but never mind: David gets the bright idea of taking their last $5,000 and going to Vegas, hoping to win enough money to save the day. He does not. But while they are there, Diana catches the eye of John Gage, a handsome billionaire (Robert Redford) who offers them a million dollars if he can spend one night with her.

Lanikuhonua Lagoon, home to the Lanikuhonua Cultural Institute (a Hawaiian cultural center) near Ko Olina resort, was the setting for the beach scenes. This idyllic beach is hidden from view by tall trees and has breathtaking views of the water.

Amanda Sanford, played by Julia Roberts, surprises her husband Clay, played by Ethan Hawke, with a weekend getaway when she rents a luxurious house on Long Island for them and their two teen kids. As they leave the city behind, each family member is engrossed in their own digital world in the car. They arrive to find the house is even more beautiful than it appeared in the listing, complete with a pool and enormous TV. It's relaxing at first, as the kids play in the pool, and Amanda and Clay begin to unwind, but strange, frightening things begin to happen when the family goes to the local beach the next day. Back at the house, they find the WiFi, cell service, and TV are all out. After the kids go to bed, Amanda and Clay are relaxing with a game and copious amounts of wine when the doorbell rings late at night, startling them. It's a a Black man, who introduces himself as G.H. Scott (played by Mahershala Ali), and his daughter, Ruth (played by Myha'la). Amanda is clearly suspicious that this expensive home is owned by a Black family and shook up to have them show up at the door unannounced. They explain that the power is out across the city, so they returned to their home on Long Island, where it would be safer. Since they did rent the house to the Sanfords, G.H. offers to stay in the basement apartment and refund some of their money, and the Amanda reluctantly agrees. The next day, more strange things happen, and the group of six realize that something very frightening is happening in the larger world, though they don't know exactly what. Forced together by circumstances, they begin to get to know each other and work together to protect their families from this unknown danger.

In the opening scene, a woman named Ruth is walking her dog on Los Angeles, California's Venice Beach, and is suddenly pulled under the sand of the deserted beach by an unseen force. The woman's screams for help are heard by Harry Caulder, a harbor patrol officer who is swimming nearby. Harry reports Ruth's disappearance to two LAPD detectives, Royko and Piantadosi, who claim that without a body, there is little they can do. The next day, Ruth's estranged daughter, Catherine, arrives from San Francisco after Harry calls her regarding her mother's disappearance.

That night, while staying in Ruth's house, Catherine hears Ruth's dog barking on the beach near the location where Ruth disappeared. Catherine investigates and finds the dog beheaded, near a small sinkhole. Royko and Piantadosi, as well as Harry, are called to the scene, but police pathologist Dr. Dimitrious cannot accurately determine a cause of death for the dog. Royko and Piantadosi believe it to be the work of a serial killer, due to reports of other disappearances over the past few months.

The next morning, a teenage girl is buried in the sand at the beach and begins screaming. Her friends pull her out of the sand, only to see that her legs have been injured from an attack by an unseen creature. The police, led by Captain Pearson, begin an investigation by digging up various sections of the beach at night, but find nothing. The next morning, people visit the beach, which the local media have dubbed "Blood Beach".

An evening or two later, Marie, a French airline stewardess who is living with Harry, chases after her hat when it is blown by wind onto the beach. She, too, is grabbed by the unseen creature and pulled under the sand. The next morning, Harry sees Marie's hat on the beach, along with a small sinkhole which he recognizes as similar to the hole at the scene of Ruth's disappearance and the death of the dog. Harry calls the police, who dig up the area around the sinkhole and find Marie's disembodied eyeball.

The next morning, Harry leaves with Catherine to drive her home to San Francisco while the beach reopens to the public, now that the subterranean creature is dead. In the final scene over the end credits, as the beach becomes crowded again, new small sinkholes begin to appear unnoticed by most all over the sand, implying that Dr. Dimitrios was correct in his theory that the creature has the ability to regenerate from severed pieces.

Jeffrey Bloom and producer Steven Nalevansky first got the central idea, a creature that hides in the sands of a heavily traveled beach, in May 1979.[2] Two months after the initial idea and having written a synopsis, Bloom and Nalevansky were able to secure financing from Sidney Beckerman which allowed production to come together quite quickly with Principal photography commencing in October of that year in Venice and Santa Monica, California over the course of 28 days, two days earlier than scheduled.[2] The creatures were designed by Dell Rheaume.[2] Two versions of the film were produced tailored for different markets.[2] The first version left the origin of the creatures ambiguous and was designed for Western audiences, while the second version made for audiences in Asia included a sequence of a spaceship landing on a beach and dropping the creatures in the sand.[2] 006ab0faaa