Fear Street Part 2: 1978
NETFLIXIf Fear Street Part One: 1994 was an uneven and awkwardly paced throwback to ’90s self-aware slasher films like Scream, its second part, 1978, takes a slightly different turn. This new instalment in the Fear Street trilogy picks up where the previous one left off, introducing the character of C. Berman (Gillian Jacobs), the sole survivor of a massacre that took place during the summer at Camp Nightwing. She tells her story to series protagonists Deena and Josh (Kiana Madeira and Benjamin Flores Jr.), who are trying to stop the possession of Samantha (Olivia Scott Welch).
This prologue serves to cement Fear Street as a mini-series made up of three TV movies, which leads to a problem that both 1978 and 1994 (and likely even 1666, judging by the teaser at the end) have: for something that heavily references classic horror cinema, this feels entirely too modern for its own good. The digital cinematography is all too close in style and aesthetic to other Netflix productions, and the addition of digital film grain in this film does very little to add actual texture or flair to the visuals. The soundtrack is once again a non-stop barrage of songs, from David Bowie and Blue Oyster Cult to the Velvet Underground – all famous tracks that have been used longer and more effectively in other films.
Despite this significant gripe, 1978 actually manages to be superior to its predecessor, and far more entertaining and consistent. For once, the story is more tightly paced, with Friday the 13th and Sleepaway Camp as clear inspirations for its setting; Camp Nightwing is every cliched American summer camp that has ever been featured in a film, but that does not remove the charm of wooden cabins, horny teens, and masked killers roaming around. Most of the humour has gone in favour of more classic tropes of the genre, with some of the kids being socially awkward, others dopeheads, and a couple just plain evil and mean.
Of course, the main appeal for R.L. Stine’s books is compelling characters thrown into a horrific scenario. Similarly to 1994, 1978 shines when it focuses on these aspects, especially the heart-to-heart moments among all the violence and chaos. The relationship between sisters Ziggy and Cindy Berman (played by Sadie Sink and Emily Rudd, respectively) had the potential to be the narrative’s emotional core. However, it is the friendship between Cindy and Alice (Ryan Simpkins) and Ziggy’s blossoming romance with young Nick Goode (Ted Sutherland) that end up delivering most of the feels. It is in these quiet scenes of dialogue and confrontation that both the performances and the script come to life, further reminding viewers that these are stories aimed at teenagers, presenting many common problems at that age: discovering one’s sexuality and feelings, coming to grips with the realities of living in a poverty-ridden city (the ironically named Shadyside), and dealing with the many forms of loss.
Notwithstanding this, Fear Street Part Two: 1978 is also a slasher film, and it sure delivers in that department as well! Plenty of references and quotes are thrown in, from Jason Voorhees’ sack mask and instances of demonic possession a là Exorcist, to direct winks at the works of Stephen King. The kills are unflinchingly brutal here, with disturbing moments of gore that work as shock value, but definitely would have benefited from using practical effects rather than CGI. The body count is technically higher than in the first chapter. Unfortunately, many kills are only inferred off-screen in a way that is also understandable – very few people would enjoy this film if it actually showed an axe murderer decapitating 9-year-olds.
The climax does culminate in a predictable but also emotional final confrontation, and the ending opens up interesting possibilities for the final chapter in the Fear Street trilogy. There are still some reservations as far as the actual look and feel of these movies are concerned (the sneak-peek at 1666 seems like it is aiming to be a The Witch homage), but overall, Part Two: 1978 is a good deal of fun, far more entertaining, and also more consistent in terms of tone and performances. It is unlikely that it will win over new fans, but it is an effective piece of R-rated slasher cinema that younger audiences do not get anymore.