![]() ![]() That vibe can be felt from the “Scream”-like opening scene, a fitting introduction to the snake-bitten hellscape of Shadyside, Ohio that sees Maya Hawke do her best Drew Barrymore impression as she’s stabbed to death in a mall bookstore by a kid in a skeleton mask. ![]() The trilogy gradually heats up like a witch who doesn’t want kids to notice that she’s boiling them alive, but this first episode is both gory enough to convince 12-year-olds they’re watching something dangerous, and also gentle enough not to cause any Satanic Panic in their parents. Making good on the massive potential she displayed in her eerie debut “Honeymoon,” Janiak and co-writer Phil Graziadei exploit the lawlessness of the streaming world to serve up a bonafide kill-fest with bumper lanes on each side (all three films in the trilogy are rated R, but no one is standing next to your television checking IDs). An embargo is still in place for the final two installments, but if the Day-Glo antics of “Fear Street Part 1: 1994” are as tonally insecure as its teenage characters and a bit too broad to get under your skin, rest assured that this overstuffed slasher cuts much deeper when it’s contextualized as the latest chapter of an American horror story that’s been in the telling for more than 300 years.Īt heart, “Fear Street Part 1: 1994” is a slumber party movie par excellence. Paramount as We Know It Has 2 Years Left, at Most - AnalystĪnd while these film-like things strive to function as self-contained chillers (with varying degrees of success), the serialized nature of the entire saga increasingly seeps through until the trilogy just feels like a fancy way of packaging a miniseries where the whole is a hell of a lot greater than the sum of its parts. Here we have three feature-length titles set for release on consecutive Fridays, each of which belongs to a different tradition of horror cinema (some of which share many of the same actors) and all of which appear to have been shot at the harried clip of an episodic production. That story - a frothy but fanged tale of cursed outsiders, cyclical violence, power-mad white men, and virtually every other evil that seems top of mind these days - is plenty of the moment in its subject matter, but even more so in its construction.Īt a time when the border that separates movies and television can seem like a relic from an outdated map, the “Fear Street” trilogy makes those divisions seem more irrelevant than ever. Stine’s young adult horror books of the same name, is that each of its three chapters offers its own full-tilt throwback at the same time as they all bleed together into a wholly modern story. The kitschy genius of Leigh Janiak’s “Fear Street” trilogy, which the writer-director has adapted for Netflix from R.L. ![]()
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