GOOD THINGS COME IN THREES! A revitalized genre by virtue of a homage: The Fear Street Trilogy.

I wanted to wait until until all three films had been aired and, until the multitudes had viewed and ‘reviewed’ the Netflix Fear Street franchise before discussing them. The films have been both commended and condemned but I want to consider a favourable perspective, with particular regards to the Slasher sub genre. Although based somewhat on the R.L Stine books, these movies extend beyond the supernatural base and evolve into a fun, blood-soaked trifecta that has soul- with more than just a nod to some of the most notable films of the Slasher lineage.

If I was told I had to choose a favourite sub genre, like if I was locked in a confined space with 2000 daddy long leg spiders and told I’d only be let out if I picked my favourite sub genre of horror, then I would have to say its Slasher Horror. My reasoning for this choice would have to be due to the subject matter- serial murders or mass murders. And of course the creativity of the kill itself. Slashers can often be interchangeable within the sub genres and are often found lodging in the dimensions of the Comedy Horror and the Gore neighbourhoods. A slasher film or show has the ability to delight and disturb us simultaneously. A win for any true horror hound.

 

          Fear Street Part One: 1994

Without divulging my age, I have to say I was fairly delighted that the this film is centred in 1994. This was a particularly significant time for me and the movie delivers with some momentous nostalgia. The soundtrack is faultless and the vivid aesthetic is splendidly authentic. The characters are mostly likeable and the plot delivers for the most part, using a handful of the right tropes to satisfy the requirements of the brand. There are plentiful measures of jump scares, masked maniacal killers, the integral and somewhat eerie hospital scene and of course, a final girl. Part One introduces the story and the characters, paving way for the following film, but it also works as a stand alone piece. Shadyside has been plagued for centuries by multitudes of mass slayings. The most recent incidents lead to a teenager and her best friends having to combat a malevolent legion of bygone perpetrators, all while defending their town’s honour against the picture perfect inhabitants of their neighbouring town Sunnyvale, and, grappling with desire and heart ache. Though it sounds like a banal and monotonous chronicle, the film works because it embraces the cliche and turns the volume all the way up. Situating the narrative in 1994 allows the audience to experience the era visually, focusing less on the triviality by immersing themselves in the action and the absurdity.

         Fear Street Part Two: 1978 

The 70s and 80s were definitely the pinnacle of the Slasher. This film follows up where the first left off by time-travelling to the previous spate of horrific murders- 1978. Set in a summer camp parallel to that of the Crystal Lake brand, we are connected to the character that is introduced at the close of Part One, the survivor of the curse C. Berman and by way of her recount of the killings and the lead up to. This follow up is somewhat more direct with its influences, echoing Friday the 13th as the most obvious one. We witness the foregoing opposition of the towns Shadyside and Sunnyvale, we witness the similar torments of this episode’s protagonist and we experience the carnage of the night another seemingly normal teen transforms into a soulless axe wielding executioner. The origins of the evil become a little clearer with pivotal moments during the events of the night. The characters are sassy and smart, and the violence is excessive in the best way.

        Fear Street Part Three: 1666

Being a fan of Arthur Miller’s seminal novel The Crucible, I anticipated something very intriguing from the third instalment in this collection and I can honestly say I was not at all disappointed. This film was my favourite of the trilogy. The setting felt both immersive and impressive. The story in this movie is halved; the first part being the 1666 timeframe, where we uncover the genesis of Sarah Fier- the malevolent force they’ve been battling from the start. Using the same young actors to portray the characters in this epoch is also another clever way to connect the stories within each film, signifying that they are a trinity. The first part of 1666 ultimately feels less like a slasher and more of a period, supernatural horror. Its got gore, jump scares and dark, eerie desolate landscape. Combine this with a possessed preacher who gouges out the eyes of the village children inside a locked church and you have yourself one spectacular experience. Part 2 of the film returns to 1994 where we find the lead character snapping out of a trance where she had been inside the mind of Sarah Fier- allowing the viewer to witness the 1966 storyline. She of course teams up with the remaining ‘good guys’ group and they wage an all in combat to defeat the ‘real’ villain.

This collective was a thoroughly enjoyable transportation into 3 separate and interconnecting time frames. The writer/director Leigh Janiak has somehow managed to create an authentic, colourful collaborative that keeps the viewer engrossed by telling three stories that are as individual pieces; fantastic horror films. As a trilogy we are further invested, rooting for what has been the underlying soul of the three; a sapphic love story. With a sincere appreciation of the genre’s greats Janiak has revitalized the slasher, hopefully.