A diverse cast and some impressively gnarly gore isn’t enough to elevate a rote stalk-and-slash teen horror that tries, and fails, to make a statement
There’s obvious business sense behind the cyclical resurgence of the teen slasher, age-old formula cheaply reproduced by barely-paid no-names aimed at an easily devalued and underestimated younger audience. What’s less obvious is why in the age of low-stakes streaming, it’s taken this long for them to return from the dead once again. But after the success of 2017’s Happy Death Day and 2018’s record-breaking Halloween, we’re now in the middle of a full-blooded renaissance.
Netflix’s Fear Street trilogy (acquired from Fox/Disney) was a scary summer surprise, this month sees remakes of I Know What You Did Last Summer and Slumber Party Massacre land, along with David Gordon Green’s sequel, Halloween Kills. Next January, Ghostface stalks his way...
There’s obvious business sense behind the cyclical resurgence of the teen slasher, age-old formula cheaply reproduced by barely-paid no-names aimed at an easily devalued and underestimated younger audience. What’s less obvious is why in the age of low-stakes streaming, it’s taken this long for them to return from the dead once again. But after the success of 2017’s Happy Death Day and 2018’s record-breaking Halloween, we’re now in the middle of a full-blooded renaissance.
Netflix’s Fear Street trilogy (acquired from Fox/Disney) was a scary summer surprise, this month sees remakes of I Know What You Did Last Summer and Slumber Party Massacre land, along with David Gordon Green’s sequel, Halloween Kills. Next January, Ghostface stalks his way...
- 10/6/2021
- by Benjamin Lee
- The Guardian - Film News
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