He was just one among many affected by the film industry’s upheaval during the COVID pandemic. Originally, the street trilogy had planned a theatrical release, but Fox ultimately moved it to Netflix. It’s kind of disappointing to see a horror film—especially from such a unique talent—released this way, but from a business perspective, it was likely a smart choice.
Based on popular books by RL Stine, the trilogy ventured through time periods, spanning the 1660s to the 1990s. It shifted from teenage antics to supernatural themes, successfully navigating genres that typically don’t win over critics. This was a notable achievement for writer-director Lee Janiak. She balanced serious tones with humor effectively, creating a new realm of horror potential for Netflix, starting off this week.
Fear Street: Prom Queen doesn’t really fit alongside the previous installments. It’s a standalone story focused solely on one timeline. This could arguably be a smart move, but it feels kind of like a dead end instead. The initial trilogy kicked off a thrilling experience, but this entry makes you wonder if there’s more to explore in the horror genre without going too far into tropes.
There’s always a noticeable dip in quality when something shifts from theater to streaming, but the odd feel of this prom queen installment is particularly tough to digest. Set in the 1980s, it relies heavily on nostalgic party themes and superficial glam to carry it. The story feels equally thin—high schoolers are vying for Prom Queen status, and one by one, they meet their end in a breezy 90 minutes. The rivalry centers on a “good girl” from one part of the neighborhood and a “bad girl” from another, played by Indian Fowler and Fina Strazza, respectively. Interestingly, they live on opposite sides of the same street despite their very different backgrounds.
The film speeds through its opening without enough substance for viewers to care or engage. The tone tips its hat too much to teen comedy, falling flat in that realm. There’s one particularly gory moment meant to jolt us awake, but the suspense is nearly nonexistent. The killer enters wearing a costume that feels almost laughable—especially during a scene where they struggle with a door handle after losing a hand. The pacing and mood just aren’t there.
One highlight of the trilogy was the fresh young cast, many of whom were relatively unknown. The casting director, Carmen Cuba, deserves credit for bringing together such talent. While she’s back for this entry, it doesn’t seem anyone in the high school setting really stands out this time. The adult roles, including Chris Klein and Lili Taylor, are slightly improved, yet I can’t help but wonder what they’re doing here—Klein aside.
Prom Queen is disappointing not only because of its predecessors in the Fear Street series but also when considering what Palmer has accomplished in the past. His 2018 thriller was an engaging buildup to a horror story about a disastrous hunting trip, which I believed to be one of the year’s best underrated films. However, it seems the unique edge he had been dulled down by Netflix’s production style; the fear just isn’t there anymore.
