The author of the programmed “Goosebumps”, “Goosebumps” RL Stine, with the other major publishing series, the young “Fear Street” series, to Netflix four years ago with the first show of three interlocking features, each in the same city “Cursed” during a different period. Both directed by Lee Janek, the trio (“Fear Street: 1994”, “1978” and “1666”) was not equal in some respects, but vital and varied in terms of stylistic and ambition reasonably – in general, which is a specific cut over the usual range of horror entries.
This sense of the way is missing from “Fear Street: Queen of the Dance Path,” which is the late independent chapter that feels more secular. This new entrance, which dates back to the “party night” in the 1980s, dates back to any specific invention or paradox. This new entrance is an integral effort that is disappointing and that cannot bother you even referring to the myths created in previous films.
The story in Burg Shadyside with bad stars has returned permanently, “where the future crawls for death”, as the heroine Lori Granger (India Fowler) was in recounting the audio comment. This time, in 1988, it is a small natural city from abroad, however, it is constantly suffering from severe incidents from the violent tragedy-one of which took the life of Laurie’s father, leaving her mother (Joan Boland) forever from his death. It is unlikely to fall directly across the street from their humble house, the upscale arc of the falcon, a rich couple (Catherine Watson, Chris Klein) who created the child Tiffany (Vienna Straza) to become particularly stinging wasps. She is a leader in a group of girls in high school known as “The Wolfpack”, whose three other members remain under thumb-while they are directed to any other person, especially Lauri and his BFF Megan (previously seen in “Red Rocket”).
However, Lori is so tired of kicking her that she entered herself as a candidate for a concert queen, along with all “wolves”. The sixth competitor is the “Grand Rebellion” Christie (Ariana Greenblat): “Bad girl” is likely proud only to give up the entire school, including her main principal in Windy (Darren Baker) and deputy director Berkleridge (Lily Taylor). The sale of drugs in the Town region one night-like its ancestors, takes this film a minority of less activities between adolescents today-Christian accuses a person in a red mask and red, such as a copy of the killer of the size of adults “do not look now”. From there, the film is committed to his hypothesis.
After that, we are close to a concert, as the same mysterious form begins with chase and stabbing them. Possibilities to survive quickly to be astonished on wolves, as well as their fortunate friends and anyone else who interferes with the road. Megan is the first to suspect something wrong with the disappearance of these prominent participants during this event, although no one initially believed-including Lori, who distracted her attention from her way from Pao Tiffany Bau Tyler (David Eyono). But once the heads in the trader start directly on the dance circuit, everyone gets the message.
There are many restricted parties and such. But “Street Street: Prom Queen” never rises above the concept of pedestrians, which simply raises the chosen of the chip and standard engagement, as well as the satire of secondary schools such as “Heathers” and “Mean Girls”, without discovering ever how serious it is to take it. (It is also not like much to be further than the 1992 “Fear Street” title.
The characters are very unilateral so that they don’t care about them-although we sneezed in an intermittent manner to do this-but at the same time the cartoons are not dealt with with enough Gusto to be already enjoyable. The extraordinary reason that guaranteed the chaos in the original “Al -Khaf Street” trilogy is absent here. However, the very ridiculous and human interpretation is very ridiculous for a movie that does not seem to reveal its own possibilities, which makes this conclusion more laughing than inflamed or funny. Even a dance duration between the protagonist and the evil, provides a major opportunity to increase the camp, Falls Flat.
This is not the fault of the competent actors in general-with their best, even if you may be gambling on the veteran talent that is lost-but with the uncertainty of the film. Perhaps the British director Matt Palmer and his co -author Donald McLeeri are not very comfortable with the American environment (despite Canadian production) or of kind on hand. Certainly, the shiny “Queen of the party” is far from the “Caliber” feature that was pre -2018, and it is an exciting movie in the Scottish highlands that were about psychological differences.
Those who keep their expectations aimed at the well -produced general haven will find this exercise armed. As part of GORE FX, the closest attention is paid to the adolescent culture decorations in the eighties, from flexible fashion to the expected soundtrack from the old pop songs by Billy Idol, Duran Duran, Eurythmeics, Judas Priest, Roxette, Ricketyy, Rockey, Pananarama, Tiffany, Laura Branigan. One of the prominent reservations of previous films is to provide a thread of lesbian desire, although Penning Megan is not required for Lori occupies a marginal place in the narration this time.