Price party horror The cinema shares a sufficiently rich relationship to maintain its sub -fertility: “curry“The Prowler”, the bodies of students “,”Texas massacre in the saw: The next generation, “the dance of the dead”, and of course the movie wears the crown, “the night of the party”. School dance at the end of the year makes a nice position to assemble a group of characters in one location, where each of them can be chosen at Master of Carnage, in this case). NetflixFollow -up decision “Fear Street: 1666, “The closing chapter of the Slasher” Fear Street “, with a reasonable party.
But how the new and expatriates approaches Palmer. “The Queen of the Dancer Dancer”, unlike the first three “Fear Street” Films-each of which is distinguished annually, from “1994” to “1978” to “1666”, and all directed by Lee Janek-adapted directly with the book named from the author Rl stineBibliography, “The Queen of the Dancer Dancer”, recorded a more or less sound line: Shadyside hight turns on a concert, and everyone is excited, including obsessed with a dark, coat of Latex coat, chasing the candidates of the Queen of Dancer in the corridors in the school with an ax. One after another, every potential king loses her head, until the perpetrator is arrested and exposed.Scooby Du“Style.
The arrangement of operations in the calculus account and integration account in the RL Stine is largely a ten -way relationship on the page, but Netflix bears responsibility for children’s murders more seriously. If there is no single death scene in “Fear Street: Prom Queen” that corresponds to the level of the super -Gulf murder from “Fear Street: 1994”, then the film makes creativity enough from circular leaflets and paper cutters to suffice and support the public interest. The development of a delicate character displays the speed of the film during the moments in which any of them would have shook down the identity to help spend time between killing; It is a disappointment Lily Taylor As VP Dolores Brekenridge – it reads unknown, given how efficient Janek films are even for their simple supportive characters.
(LR) India Fowler in the role of Lori Granger, David Eycono in the role of Tyler Torres and Suzana Sun in the role of Megan Rogers in “Fear Street: Prom Queen”. (Alan Marfield/Netflix)
The film makes sufficient creativity for circular leaflets and paper cutters to suffice and keep the audience’s attention.
But it is the process of thinking that leads the subjects of Palmer and a conspiracy here is frustrating. Unlike Janek trilogy, “Fear Street: Prom Queen” is shockingly shockingly, with no great thinking about ideas about, among other things, from class and sexual inclination, the main pillars of “Fear Street: 1994” and “Fear Street: 1666.” Frankly, the film was only so little that if he criticized a butcher from its skull, it will strike cotton candy instead of the gray matter.
Ella Robin in the role of Melissa in “Fear Street: Queen of the Dance Party” (Alan Markfield/Netfella)The story depends on a classic competition between good and evil, where “Good” represents Lori Granger (India Fowler), the Queen of the Dancer, and “Evil” written by Tiffany Falcon (Vina Straza), which is the average shoe to win. Lori works at the local dinner to pay the price of her concert dress, while her mother (Joan Boland), a former candidate for the same dancer, was wandering in dilapidated hours to meet her needs as a single provider of their home; Tiffany, of course, has money, and “Fear Street: Prom Queen” relies comfortably on this only incentive to support the construction of sub -texts. We know, we know: the elite is bad, the working class is good; Wonderful children, children are not good. The strained edges about the plan that borrows Palmer from here will not matter half of them if the film has anything insightful to say about what makes beef from Tiffany with remarkable Lori. Instead, it is simply assumed through the scenario, in which Palm Palm with Donald McLeri, that we will make a brilliant root in principle.
The team of actors is clearly embodied in the horror character that enhances the context of the film regularly, sending dozens of steps back from the “Fear Street” trilogy.
and turn, We are in the corner of Laurie. She is the last girl. There is not much for the public to cling to it. We support Lori because this is the basic expectation, not because “Fear Street: Prom Queen” gives us a specific reason, even by tearing insight around her personality. The film promises nothing, and keeps the promise. At points full of 90 minutes, Palmer seems to be a fundamental history between Lori and Tivani, or that Megan (Susanna Sun), the best Lori friend, suffers from an unavailable love, but these effects do not exceed just hints. These are frighteningly fixed characters, which will be fine if they are InterestingBut the farthest that the film gets with Tiffany is that it is a elite bullying, and the farthest of that gets Megan is that she loves horror movies, apparently because this is the only way that Palmer knows to separate strangers from the crowd.
Lily Taylor at Dolores Brekenridge in “Fear Street: Prom Queen” (Netflix)
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It is converted into a concerted tilted frame, the “Street Street: Prom Queen” banter feels frankly. It is one type of problem to fail to narrate with flat characters and offers without air; The team of actors should be suffocated by the lack of life they breathe in their roles. But each of them embodies such letters that were clearly defined, so that the context of the film enhances regular restrictions, which is sent by dozens of steps back from the “Street Street” trilogy. Janiak prompted, for example, heterogeneous, patriarchal merit, and the other is a triple line. “Street Street: Prom Queen” only reprimanding the greedy layer in superficial method behind Continuous hunger for more wealth is implanted in those who have.
Perhaps the problem is the schedule; “Fear Street: Prom Queen” is running before the first three “Fear Street” films, where Shadyside, responsible for converting daily people into psychotic murderers, is finally broken. But “Fear Street: Prom Queen” treated the curse as an Easter egg and is based on a foggy formulation of human cruelty like its villain instead. Is this a story about the players who take others? Is it related to the inverted insecurity of the elites on its advantages? Palmer seems confident that the viewers will simply agree with it because this is the recent pop culture, and while the wealthy despises all enjoyable and games, the exercise retreats when the routine is by heart.
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