Three horror movies, three different eras, the same story. The trilogy ‘The street of terror’ fulfills its objective of entertaining and keeping the viewer in tension with a grateful youthful spirit
Payment platforms are finding a vein in horror series and movies, especially Netflix, thanks to the pull of the genre among young audiences, as was the case in the old days with video stores, where it was common to rent scary films just because of the cover, the more creepy better. The popular online service with monthly subscription usually has a fantastic or horror title among the ten most viewed works of the moment among its subscribers. He has just successfully launched ‘Blood Red Sky’, a pleasant surprise for whose enjoyment the ideal is not to know anything about the plot, with the premiere of ‘The classic horror story’, a whirlwind of bloody and chilling tics, still warm . The trilogy of ‘Fear Street’, aka ‘The street of terror’, is one of the cinematographic phenomena of this summer of horror, not to say funk, proposed by the streaming entertainment company par excellence, whose marketing maneuvers do not pass unnoticed. It is an audiovisual event that, in addition to working well for the large audience, has hooked fans to dark stories, hard to peel. Not surprisingly, the three interconnected films are based on the books of the cult writer RL Stine, an essential figure in macabre literature for adolescent readers. His stories for all audiences have marked several generations since their launch in 1992. His publisher, Scholastic, has published more than 400 million copies worldwide, in 32 languages.
A still from ‘The Street of Terror (Part 2): 1978’.
The ‘The Street of Terror’ trilogy starts off with an advantage by being based on the work of one of the best-selling horror authors in history. The idea of setting each installment at a time is a real find that Netflix has managed to squeeze, releasing each title separately, one by one for three consecutive weeks, always falling on the weekend. This cadence has allowed fans to chat about the films, as if it were a series, fueling expectations. The end result is fresh and fun, although the action goes from more to less and the trio of related proposals sin the same: a clear excess of footage, an endemic evil to current audiovisual material. One of the strong points of the three pieces, directed by Leigh Janiak, responsible for the curious ‘Honeymoon’ and for the realization of some chapters of specialized series such as ‘Panic’, ‘Scream’ or ‘Outcast’, is its soundtrack, well mixed, filled with hits from irreproachable bands and artists such as Radiohead, Iron Maiden, NIN, Prodigy, Pixies, Soundgarden, White Zombie or Oasis, among other popular names. Tracks that, it must be said, do not always exactly match the era portrayed on the screen.
‘The street of terror’ begins with a first part located in 1994, the best of the lot, where everything begins. A group of teenagers discover, almost by accident, how a succession of strange incidents that have plagued their town can be connected. Several generations have lived the same nightmare. A seemingly calm villager ends up becoming an eccentric psychopath who murders several victims who do not find justice. The events always seem the work of a supernatural force that refers to the curse of a witch who was executed with rancor in the town square before the eyes of the citizens. Every so often the sorceress returns from the dead and possesses some unwary to carry out her revenge. The list of peculiar slaughterers, each in his own guise, continues to grow decade by decade, century after century. A highlight is a child with a mutant baby mask who hits his targets on the head with a baseball bat until their heads explode. It gives a real panic when several serial exterminators coincide on the scene. Get your adrenaline pumping and give the audience the most horrifying images.
The story begins, therefore, in the 90s, although the aesthetics of the film and its sequels refer directly, without dissimulation, to ‘Stranger Things’, whose influence seems to have no limit. With an institute as a setting, he looks at the cult saga ‘Scream’, without blushing, while exposing without complex clichés of the genre that he sometimes turns around, as if it were a compendium of recognizable slashers. It is well paced, even if it lasts longer than necessary, and there is also a good dose of rugged scenes and hemoglobin, with the addition of the appearance of endearing characters who intersect with meaning and are not designed only to die happily because of a ax or sharp object. The second part of the trilogy takes place in 1978, in a summer camp, the natural habitat of traumatized psycho-killers in search of redemption through mutilation. The perfect excuse to display the catalog of common places of horror movies, with humor and self-confidence. The third and last installment, where everything fits, is the loosest of the set and is divided into two parts. The first takes place in 1666, the year in which the witch guilty of the alleged curse was hanged by the excited mass. All the facts connect and the cast is repeated with different roles, giving rise to the reincarnation theory over several generations. Kiana Madeira (‘The Curse of Halloween’), Benjamin Flores Jr. (‘Camp at World’s End’), Olivia Scott Welch (‘Shithouse’), Gillian Jacobs (‘Love’) and Ashley Zukerman (‘The Code’ ) make up the primary casting, delivered to the cause with a good dramatic record.
The action returns to 1994 in the final part of ‘La casa del terror. Part 3: 1666 ‘, by way of conclusion, after digesting the longest flashback of the series. The puzzle is completed and the main characters seek to end the sentence through time that has taken the lives of numerous innocent people. Past and present are definitely intertwined. Along the way, some flashy gore scenes, nods to die-hard fans, and several haunting moments. Three proposals of terror above the average, whose consecutive launch is appreciated. Once the lesson has been learned, Netflix will probably continue to experiment with this type of event to the delight of the good moviegoer, a point in its favor among so many audiovisual on-demand offer.