the Fear street The trilogy is a gateway to horror films for many, but also a welcome return to a genre a writer left behind.
As a youngster, I was the sleepover kid. I always went to them or had them. Looking back, I realize that this was a very profitable way for my parents to throw birthday parties and fun days for me. Of course, it cost them a night’s sleep, as 10 year old girls chatting until 3 a.m. are now my adult nightmare. But a few cheap pizzas from Asda and a VHS rental (or in many cases buying a used movie at a garage sale) were offered at minimal cost and a huge reward.
As I get older and my love of Buffy the vampire slayer, Charm and the novels of Darren Shan imposed themselves, my father became delighted. Big fan of vampires and horror, he knew how to invite me into a world of cinema that my mother hated and which had never interested my brothers. He would recommend movies to me like Carrie, Night of dread, The lost boys and The Exorcist.
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The best part of these recommendations, however, was the freedom it gave me. He would talk to me about everything, explain to me why I might like them, then leave a stack of VHS tapes by the TV, ready for the next slumber party so I can experience them on my own terms with my friends. Nothing thrilled me more than suggesting a midnight horror movie to my terrified friends, relishing the community of shared fear and discovery.
This love or horror movie – especially the slasher genre – developed as I got interested in modern cinema and followed 2000s teen movies like Jeepers and Wrong turn. But as the genre developed, as it renewed itself every few years, I grew and became more aware of the world and the real threat of violence against young women. Soon movies like Seen and Hotel that portray kidnapped or deceived people weren’t fun, they looked like potential truths. By the time I turned 18 and left home, horror was no longer my friend but the fuel for my nightmare.
Over the past 12 years there have been a lot of new subgenres in horror, some that I had the courage to watch (always with another person, preferably in the movies). And although I liked it a lot – like Hereditary and Happy day of the dead – I never quite found that spark of watching i know what you did last summer for the first time, or finally find a copy of Halloween in a 50p bin to watch with my cousin.
That is to say up to Fear street.
the Fear street Trilogy is a three-movie saga that has debuted on Netflix over the past three weeks, with each film released separately, with the latest dropping over the weekend. An experience of the difference between movies and television in this new era of streaming, an intelligent and open recognition that hardly any film, especially those based on properties like RL Stine’s novels, goes without sequel. Netflix (who took over the project) and Leigh Janniak – who co-wrote and directed all three films – decided to film and release all three in close succession. And did this experiment work.
One of the best and worst things about new and old horror franchises are the sequels. When I discovered that 50p Halloween VHS, it was a box of two films that contained the sequel, Halloween ii. You’re right, after the first movie ended, I immediately put that second tape in to see what happened to Michael and Laurie next. I maintain that this is still a brilliant sequel as it picks up immediately afterwards, extending the story.
the Scream films, show the negative sides of the sequels. While scream 3 has its merits, it is difficult to say that it does not stand out from the two previous films, in tone and style. Likewise, Scream 4 that I maintain is the best continuation still poses problems because everything but cancels the end of scream 3 – a common phenomenon in the suites landscape.
But what about the Fear street trilogy that made me feel like a horny 14 year old?
First of all, the tributes and references to horror films of the past. Street of Fear 1994 had the ’90s kid in me screaming for joy. Fear street 1978 reminded me of the joy and fear of watching Friday 13e for the first time. Fear street 1666 made me angry, I no longer have my annotated copy of The crucible.
Janiak has been asked in interviews about what she thinks about these films found by younger audiences who may not be in the appropriate age range. She was delighted. One of the joys of being a horror fan as a kid was finding a new movie: testing whether or not you were ready for an 18 year certificate, sneaking out that recorded VHS you were told that you were too young to trade, or staying up late and catching something late at night that you might be a little too young to see. In the age of streaming, horror movies have never been so accessible to young audiences, but Fear street unlocks a horror story (specifically slasher movies) that they might not know before they watch.
I am not one of those young children. But what Fear street did for me as an adult was to remind myself of how much I loved finding these movies, how much I loved living in a franchise and the endless revolving door of sequels each more bloody than ever. others. It was also a pleasure to collect the references, to remember movies that I had long forgotten and to think about the franchises that I had never completed.
What he also did was reverse the idea of sequels and trilogies, turning out to be sequels within sequels, connecting stories with multiple arcs and showing the power of having fully thought out endings. The whole allowing a circular trilogy which turned out to be extremely satisfying in its final confrontation and its closing minutes. Here Netflix and Janiak reminded me how much I love horror franchises, but also showed us a way to harness their power.
the Fear street trilogy in three individual films which I found great. In trilogy, they are distinguished by their ingenuity. They rekindled a spark in this forgotten horror fan, who can’t wait to roam the halls of CEX for every Halloween sequel never done …
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