Fear Street: Prom Queen Improves Netflix’s YA Horror Series
This article contains spoilers for Fear Street: Prom Queen
Right before the first kill of Fear Street: Prom Queen, viewers get a montage of sounds and images appropriate to the movie’s 1988 setting. Accompanied by Billy Idol’s “White Wedding,” we see mean girl Tiffany Falconerprepping for prom, cool girl Christy Renaultbuying drugs, and protagonist Lori Grangertrying on her dress. Included in this sequence is a shot of moviegoers watching Phantasm II, the cult classic from director Don Coscarelli. Onscreen, we see one of that ’80s film’s standout scenes, where flying silver balls launched by the evil Tall Mansoar across a hallway before lodging into the head of a victim.
By this point, such homages are an expected part of the Fear Street franchise, based on the YA novels by R.L. Stine. The first three movies, all directed by Leigh Janiak, feature multiple references to previous horror movies. But the Phantasm II nod in Prom Queen does more than provide further watch suggestions for Fear Street‘s intended audience, young teens new to the horror genre. It also points to the important fundamentals of horror filmmaking, which is something sometimes lost in the more frantic original trilogy. As in Coscarelli’s movie, Prom Queen uses a deliberate pace and clear spacial arrangement to make its kills legible, thereby heightening the experience beyond jump scares and references.
It makes for a better horror experience.
Two Types of Killing
Palmer’s approach can be seen in the scene directly following the montage. The scene opens with a mid-range shot of Greenblatt’s cool girl standing next to the sports car driven by her drug dealers. The camera stays pretty tight on her as she finishes her transaction and walks off. When she crosses a bridge to the parking lot where she’ll meet her end though, the visual language changes.
A wide shot captures Christy as she crosses a bridge, the soft orange light from the post above her providing a tranquil mood. That continues into the next shot where our victim walks happily through an empty parking lot. The tone shifts suddenly with a hard cut to a close up of Christy as she stops, and the camera moves around her as she looks around. A cut back to a wide shot shows that she is largely alone and trapped on three sides. Brick buildings and trucks surround her on all corners.
So when a figure arrives in a foreground of one of the wide shots and an axe drops into frame, we understand Christy’s predicament. She’s utterly alone, save for this person who’s come to kill her. And the killer stands in front of her one means of escape. Christy doesn’t see the killer before the axe blade lands in her neck, but we viewers do. In fact, the camera stays with the killer up until the attack, cutting only briefly back to Christy’s perspective. Even as the killer chops at the pleading girl, the camera returns to a brief wide shot to show how her cries will go unanswered.
Contrast this kill to the opening scene of the first entry, Fear Street: 1994, in which a slasher in a mask and hood stalks bookseller Heather. Director Janiak uses the aisles of the mall storefronts where the attack takes place to to build tension. We never really know where the killer is in relationship to Heather, even when closeups show the characters in full. Thus the attacks are all shocks, with the killercoming out of nowhere to surprise the viewer.
There’s nothing inherently wrong with this style. Janiak is a good filmmaker, and her excellent debut picture Honeymoon demonstrates that she knows how to build dread and mood. But with Fear Street, Janiak chooses shocks over scares, with the killers constantly jumping out at the victims. Such energetic moviemaking gets a jolt from viewers but ultimately operates as shorthand, giving us the quick payoff of a scary scene without making us wait through the buildup.
Prom Queen is all about the fundamentals of building a scary scene. In the bloody art room sequence, perhaps the most memorable moment, the camera lays out the geography of the space before we see the killer use a paper cutter to sever a jock’s arms. A tracking shot follows the jock Bobbyand his girlfriend Lindaas they enter the room, keeping them in the center of the frame while also showing the points of exit and the objects in the room. Linda gets killed off-screen, moving out of frame and into the darkness. When she returns, holding the entrails spilling from a wound in her stomach, we see not only the room, but also start looking for the instruments that can do such damage.
So when the killer stymies Bobby’s counterattack by slamming his arm on a table, we’re not seeing the paper cutter for the first time. But we do feel a sense of dread when we realize the proximity between Bobby’s hand and the cutter, a dread that gets consummated when he starts chopping away.
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It’s that sense of dread that makes horror so powerful. The actual kill can surprise us or disgust us, and Fear Street does that well. But the kill can also provide a sense of relief because it’s all so knowable. We no longer fear the potential for a character’s death because it has arrived. We may hate it and it may upset us, but it doesn’t scare us.
A Legacy of Death
With its more intentional pace and excellent spacial awareness, Prom Queen spends more time building dread. Drawing from masters like Coscarelliand pulling from the Italian giallo tradition that inspired the American slasher, director Matt Palmer grounds Prom Queen in a larger horror tradition.
Palmer shows his young audience not just the cool movies they can check out after watching the latest Fear Street. He also shows them how to watch these movies; the fundamentals of horror filmmaking that provide the building blocks of the genre. Thanks to its well-constructed and well-paced kill scenes, Prom Queen goes beyond referencing the 1980s and looks at the history of horror and educates the next generation of horror fans.
Fear Street: Prom Queen streams on Netlfix on May 23, 2025.
#fear #street #prom #queen #improves
Fear Street: Prom Queen Improves Netflix’s YA Horror Series
This article contains spoilers for Fear Street: Prom Queen
Right before the first kill of Fear Street: Prom Queen, viewers get a montage of sounds and images appropriate to the movie’s 1988 setting. Accompanied by Billy Idol’s “White Wedding,” we see mean girl Tiffany Falconerprepping for prom, cool girl Christy Renaultbuying drugs, and protagonist Lori Grangertrying on her dress. Included in this sequence is a shot of moviegoers watching Phantasm II, the cult classic from director Don Coscarelli. Onscreen, we see one of that ’80s film’s standout scenes, where flying silver balls launched by the evil Tall Mansoar across a hallway before lodging into the head of a victim.
By this point, such homages are an expected part of the Fear Street franchise, based on the YA novels by R.L. Stine. The first three movies, all directed by Leigh Janiak, feature multiple references to previous horror movies. But the Phantasm II nod in Prom Queen does more than provide further watch suggestions for Fear Street‘s intended audience, young teens new to the horror genre. It also points to the important fundamentals of horror filmmaking, which is something sometimes lost in the more frantic original trilogy. As in Coscarelli’s movie, Prom Queen uses a deliberate pace and clear spacial arrangement to make its kills legible, thereby heightening the experience beyond jump scares and references.
It makes for a better horror experience.
Two Types of Killing
Palmer’s approach can be seen in the scene directly following the montage. The scene opens with a mid-range shot of Greenblatt’s cool girl standing next to the sports car driven by her drug dealers. The camera stays pretty tight on her as she finishes her transaction and walks off. When she crosses a bridge to the parking lot where she’ll meet her end though, the visual language changes.
A wide shot captures Christy as she crosses a bridge, the soft orange light from the post above her providing a tranquil mood. That continues into the next shot where our victim walks happily through an empty parking lot. The tone shifts suddenly with a hard cut to a close up of Christy as she stops, and the camera moves around her as she looks around. A cut back to a wide shot shows that she is largely alone and trapped on three sides. Brick buildings and trucks surround her on all corners.
So when a figure arrives in a foreground of one of the wide shots and an axe drops into frame, we understand Christy’s predicament. She’s utterly alone, save for this person who’s come to kill her. And the killer stands in front of her one means of escape. Christy doesn’t see the killer before the axe blade lands in her neck, but we viewers do. In fact, the camera stays with the killer up until the attack, cutting only briefly back to Christy’s perspective. Even as the killer chops at the pleading girl, the camera returns to a brief wide shot to show how her cries will go unanswered.
Contrast this kill to the opening scene of the first entry, Fear Street: 1994, in which a slasher in a mask and hood stalks bookseller Heather. Director Janiak uses the aisles of the mall storefronts where the attack takes place to to build tension. We never really know where the killer is in relationship to Heather, even when closeups show the characters in full. Thus the attacks are all shocks, with the killercoming out of nowhere to surprise the viewer.
There’s nothing inherently wrong with this style. Janiak is a good filmmaker, and her excellent debut picture Honeymoon demonstrates that she knows how to build dread and mood. But with Fear Street, Janiak chooses shocks over scares, with the killers constantly jumping out at the victims. Such energetic moviemaking gets a jolt from viewers but ultimately operates as shorthand, giving us the quick payoff of a scary scene without making us wait through the buildup.
Prom Queen is all about the fundamentals of building a scary scene. In the bloody art room sequence, perhaps the most memorable moment, the camera lays out the geography of the space before we see the killer use a paper cutter to sever a jock’s arms. A tracking shot follows the jock Bobbyand his girlfriend Lindaas they enter the room, keeping them in the center of the frame while also showing the points of exit and the objects in the room. Linda gets killed off-screen, moving out of frame and into the darkness. When she returns, holding the entrails spilling from a wound in her stomach, we see not only the room, but also start looking for the instruments that can do such damage.
So when the killer stymies Bobby’s counterattack by slamming his arm on a table, we’re not seeing the paper cutter for the first time. But we do feel a sense of dread when we realize the proximity between Bobby’s hand and the cutter, a dread that gets consummated when he starts chopping away.
Join our mailing list
Get the best of Den of Geek delivered right to your inbox!
It’s that sense of dread that makes horror so powerful. The actual kill can surprise us or disgust us, and Fear Street does that well. But the kill can also provide a sense of relief because it’s all so knowable. We no longer fear the potential for a character’s death because it has arrived. We may hate it and it may upset us, but it doesn’t scare us.
A Legacy of Death
With its more intentional pace and excellent spacial awareness, Prom Queen spends more time building dread. Drawing from masters like Coscarelliand pulling from the Italian giallo tradition that inspired the American slasher, director Matt Palmer grounds Prom Queen in a larger horror tradition.
Palmer shows his young audience not just the cool movies they can check out after watching the latest Fear Street. He also shows them how to watch these movies; the fundamentals of horror filmmaking that provide the building blocks of the genre. Thanks to its well-constructed and well-paced kill scenes, Prom Queen goes beyond referencing the 1980s and looks at the history of horror and educates the next generation of horror fans.
Fear Street: Prom Queen streams on Netlfix on May 23, 2025.
#fear #street #prom #queen #improves
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