BONUS: Review: Fear Street: Prom Queen Lost The Fear Street Touch

We kicked off this bonus episode with a little chaos and a lot of sass. Right from the start, you can feel the energy between us, part friendship, part roast-fest. But today’s episode wasn’t just for fun. We jumped on early in the week to get something off our chests: Netflix’s new adaptation of R.L. Stine’s Fear Street: Prom Queen. We needed to talk about it, not because it was good, but because we had to process what we watched and, hopefully, move on.

The three of us had recently rewatched the original Fear Street trilogy from 2021. That experience reminded us how much we loved those films. The original trilogy had style, cohesion, and just the right balance of nostalgia and horror. Each film was distinct in tone and setting, and even with recurring actors playing different roles, the storytelling still worked. It was like a slasher miniseries done right. Our hopes were high that this new addition would carry the same energy.

High Expectations Meet a Boring Reality

Unfortunately, Prom Queen didn’t deliver. This time around, Netflix handed the reins over to a different creative team. The original trilogy’s director, Leigh Janiak, who had done a stellar job, wasn’t involved. Right away, we could feel the difference. The original films were smartly written and visually interesting, but this one felt phoned in.

We were intrigued at first, this adaptation was based on an actual book from the Fear Street series, which is different from the original trilogy’s approach of blending storylines. The book it’s based on, Prom Queen, came out in 1992 and was one of the most popular in the series. So, we figured, hey, this has potential. But while the setup sounded promising, the execution didn’t land.

The movie barely connects to the rest of the Fear Street universe. A few surface-level references are thrown in, a scribble of “Sarah Fier Lives” on a bathroom wall, a mid-credit scene, a mention of Shadyside’s curse, but nothing really ties it into the world we knew and loved from the trilogy. It could’ve been any generic slasher set at any generic high school. And let’s be honest, it felt like it.

Flat Characters and Predictable Plotlines

One of our biggest issues was how dull everything felt. This wasn’t a “so bad it’s fun” kind of experience; it was just bland. We weren’t on the edge of our seats. We weren’t even flinching during the kill scenes. Shirin, who usually hides in a popcorn bucket during slashers, was perfectly calm the whole time. That’s a red flag.

The kills themselves were forgettable. The CGI was janky, too overused, and poorly done. There wasn’t much practical effects work, which made the whole thing feel lifeless. We remembered scenes from the original trilogy, like that bread slicer kill in 1994, because they were creative and well-shot. This one? Not so much.

The story takes place in 1988, timeline-wise wedged between 1978 and 1994 from the original trilogy. But that doesn’t add any real depth. It mostly takes place on prom night, and by the time we realized the entire film was going to stay there, we were already bored.

The movie follows a predictable slasher formula with a few “twists” that weren’t twisty enough. We figured out both killers well before the movie wanted us to. And the stakes? So low. The protagonist wants to win the prom queen to prove she’s not the daughter of a murderer. That’s the entire emotional crux of the film. It’s like someone took a soap opera subplot and tried to stretch it into a horror movie.

Nostalgia That Falls Flat

There were too many characters crammed in at the start, and none of them were given enough personality to stand out. Even Ariana Greenblatt, whom we usually like, felt wasted in her role. She gets offed early, and we didn’t even care. That’s a problem. Contrast that with Fear Street 1994, where Maya Hawke’s short-lived character still made an impact.

We kept comparing this new movie to the originals, which might be unfair, but also kind of inevitable. The trilogy had soul. You could feel the pain of Shadyside, the atmosphere of the town, and the generational trauma. Here? Nothing. We could’ve been in any random school, anywhere. The town had no presence, no personality. It didn’t feel like Fear Street at all.

We even joked about how the new movie reminded us of other forgettable attempts at horror, like Time Cut, another bland time-travel slasher. On the flip side, Totally Killer, which came out around the same time, managed to be a fun, enjoyable ride. So, it