Imagine it’s a warm summer night in 1992. You’ve just picked up the latest R.L. Stine Fear Street book, and the anticipation is palpable as you settle in. A cozy canopy drapes over your bed, transforming your space into a snug reading nook that feels like a secret hideaway. The window is slightly ajar, allowing a gentle breeze to weave through the room. The rhythmic symphony of crickets chirping, or perhaps the occasional buzz of cicadas if you’re nestled in the Southern heat, creates a perfect backdrop for your adventure.
With the soft glow of a flashlight illuminating the pages, you eagerly peel back the cover of the brand-new book, inhaling deeply to savor that delightful “new book smell” — the combination of fresh ink and crisp pages. As you dive into the spine-tingling tale, the air feels charged with suspense, and a chill runs down your spine, heightening your senses as you lose yourself in a story that promises thrills and chills around every corner.
This is the same thrill I feel as an adult when I watch the modern movie adaptations of R.L. Stine’s timeless classics.
Or at least… some of them.
In the summer of 2021, Netflix thrilled horror enthusiasts by releasing the Fear Street trilogy, presenting three films over three consecutive Fridays. Each installment is set in a different decade: 1994, 1978 and 1666. I loved all three, but my favorite has to be Part Two: 1978, which stars Sadie Sink and unfolds at a summer camp. The trilogy was directed by Leigh Janiak, who also co-wrote two films.
Four years later, we’re introduced to a fresh chapter in the Fear Street universe titled Fear Street: Prom Queen. I was more of a Goosebumps gal, myself, so I have not read this novel. That made me all the more excited to dive in since I didn’t know how this one would turn out!
This installment, directed by Matt Palmer and co-written with Donald McLeary, marks a departure from the original Fear Street trilogy, as neither is associated with it, which brings to mind the well-known saying, “If it ain’t broke, don’t fix it.”
The bottom line is that this movie is a shallow shell compared to its predecessors.
The movie opens with a voice over from our highschooler protagonist, Lori Granger (India Fowler), who names all the characters at Shadyside High, including the other girls she is competing against for prom queen. My eyes were already crossing at this point, because so many character names are thrown at you that I had a hard time keeping track.
Lori isn’t popular, and her best friend, Megan (Suzanna Son), is what she calls a “stoner horror nerd.” The popular girls, also known as “the wolfpack,” are also vying for the title of prom queen. The main one is Tiffany (Fina Strazza), who likes to taunt Lori about her father’s untimely death (who was thought to have been murdered by her mother).
As the announcement for prom king and queen approaches, the nominees on the ballot are picked off one by one by a masked killer in a red trench coat. Who is behind the mask, and why are they killing the teens? Will someone be crowned prom queen or will they all die!?
The kills are pretty decent, despite some happening off-screen. There was an incident involving a paper-cutter machine that I used frequently in college. There’s also another scene featuring someone’s hands getting sliced off that made me laugh out loud. That had to be intentional, because it carries such a ludicrous tone. Perhaps this was intended to evoke a campy atmosphere reminiscent of my favorite ’80s horror movies, or maybe it was a gag gone wrong.
Either way, I enjoyed it.
The soundtrack created by The Newton Brothers is an absolute delight. While the film is set in 1988, the visuals fail to capture the essence of the 1980s — the costumes and makeup offer little indication of the era. However, the score has a very Stranger Things vibe with its synthwave style, reminiscent of the compositions by Rocky Gray. He’s known for his work on The Barn and The Barn Part II, two wonderfully campy, B-rate horror films I adore.
The Newton Brothers have also collaborated extensively with Mike Flanagan, one of my favorite directors in the horror genre. Their music has a powerful way of evoking my emotions, particularly the score from The Haunting of Bly Manor, which tugs at my heartstrings!
Overall, the performances fall flat. Most of the cast seemed sleepy and rigid, lacking the spark to engage the audience. However, portraying the best friend, Tiffany, Suzanna Son truly stood out with her punk-rock energy, bringing her character to life. Although Lili Taylor, the Vice President, is the most recognizable name in the cast, her role is limited. Horror enthusiasts might recall her as Nell from The Haunting or as the mother from The Conjuring. Unfortunately, I found it challenging to connect with any of the characters, as they mostly came across as unlikable.
The script feels incredibly shallow and muddled. While it attempts to delve into the arc about Lori’s mom having killed her dad back in high school, leading to the cancellation of their prom, this storyline ultimately gets lost in the mix and lacks the depth it deserves. The reveal of the killer is shockingly anticlimactic and predictable.
Many have drawn comparisons to those spooky Disney Channel Original Movies, such as Don’t Look Under the Bed, and I can see why. With its absence of tension and mystery, Fear Street: Prom Queen falls into that category (with more cussing and CGI gore involved, though).
It’s disappointing that after waiting four years, we ended up with this letdown of a Fear Street movie. I’ve heard that the original director was supposed to be Chloe Okuno, known for her work on Watcher with Maika Monroe and the “Storm Drain” segment in V/H/S/94. I can’t help but think that her direction might have made a significant difference, especially considering she has successfully directed a horror film featuring a strong female lead. Could that have saved this movie? The world may never know.
I rate Fear Street: Prom Queen two and a half stars out of five. While it falls short compared to the original trilogy, I still find myself laughing at several scenes and getting lost in the score by the Newton Brothers. A post-credit scene ties it back to the trilogy, which I appreciate. Fingers crossed we won’t have to wait too long for the next installment, but I’m not holding my breath.
In the meantime, I’ll let my inner child curl under the blankets and dive into the beloved R.L. Stine Fear Street books to recapture that excitement the 2021 trilogy brought me. We may never reach that level of Fear Street greatness again.