I was born in the early 1990s. If you were too, chances are your introduction into the horror genre came from one of two places. The first would be Nickelodeon’s campfire anthology show, Are You Afraid of the Dark?, and the second, its book-series-turned-juggernaut-competitor in Goosebumps. This was similar to our introduction into similar rivalries we see unfold in today’s age, namely Marvel versus DC. If you grew up in the 90s and watched either of the shows or read the books, chances are you were an apologist for one or the other. I was a diehard Goosebumps fan. Every Scholastic Book Fair, I was always begging my mother for money to secure the latest title in R.L. Stine’s ever growing library of terror. 

The Goosebumps show was a staple of my childhood. Even when Stine decided to shut the door on the era of Goosebumps, he gifted our childhood with another title in its place. The Nightmare Room followed. Though never reaching the same heights of popularity as its predecessor, its live action counterpart gave us something to talk about at the playground following its Saturday morning airing. The show brought in familiar names like Amanda Bynes, of Nickelodeon fame, and Justin Berfield, from Malcolm in the Middle. The aforementioned Afraid of the Dark seemed to play more for a mature audience. Goosebumps seemed to be aimed at those of us just getting into the double digits of life, whereas Dark seemed to pursue the teenagers among us in the 90s. 

Though never quite as popular, Stine also had a series of books which targeted this same audience in Fear Street. Now, like its 2015 Jack Black-centric cinematic counterpart and its 2018 far less superior sequel, Netflix gives us the beginning of its Fear Street trilogy event, based on those books. The first film, titled 1994, tells the story of Deena (Kiana Madeira) and her friends who encounter a bloodthirsty legend turned reality as they race to break the town curse. Much like the 2015 Goosebumps film, Fear Street pulls from multiple sources in the R.L. Stine library. Fear Street has over 51 titles to its original cannon with an additional 113 titles collected through its spin-offs. To say that director and co-writer Leigh Janiak has a wealth of inspiration to pull from would be an understatement.

It’s mixture of horror subgenres not only creates something unique for viewers but also pays tremendous homage to the book series that inspired the movie. Janiak pays homage to a multitude of sources throughout the film. There is literally a shot for shot homage to Scream in its opening prologue. What this mixture of genres and homage does is create not only a compelling story for its central characters but an enticing lore that is set to be woven throughout the films. We discussed this last year with Glenn Danzig’s Verotika and earlier this year with Mother Noose presents: Once Upon a Nightmare - anthologies are an incredibly hard thing to pull off. Unlike the two previously mentioned titles, 1994 has no problem staying in its own individual identity, while also simultaneously carving a mythology that will echo throughout the other installments. 

Its approach to its anthology elements feels more like Trick R Treat, in that everything comes full circle rather than taking random stories and forcing a connection. There is an exceptionally natural element to its storytelling and its characters. No element of the story is wasted here. Even the elements you think would normally be thrown away character traits come back full circle in the narrative. Just to give some quick examples, the character of Kate, played by Julia Rehwald, is introduced as a cheerleader who dabbles in drug dealing on the side. What could have been a throwaway trait actually comes back as a massive backbone for the film’s climax. Another example of this is the obsession of Deena's brother, Josh (Benjamin Flores Jr.). This could have made him a one note character, instead it made him essential to the plot. 

Fear Street has multiple elements of surprise. The mixture of horror subgenres is one that challenges what we know as slashers. Like I said, the film opens up as a love letter to Wes Craven’s Scream, but as the film progresses we get entwined with the ghost and supernatural subgenres as well, resulting in a film that is both fun and leaves a lasting impression. We are also made to care about these characters, which makes the deaths of the characters whose fate is to die that much harder to endure. Madeira’s character is dealing with an absent but alcoholic father as well as a break-up with Sam, played by Olivia Scott Welch. 1994 is filled with emotional beats throughout that catch viewers off guard in the best way possible. Even some of the more shallow characters like Rehwald or fellow star Fred Hechinger have their own moments to showcase their traits and talents. One of which I’ll talk about in the mental health moment below. 

Overall, Fear Street: Part One: 1994 satisfies in nearly every way imaginable. From its characters and their emotional cores to the mixture of genres, 1994 is as smart as horror films come. Leigh Janiak weaves not only a tale of compelling characters but also enticing mythological elements that instantly hooks viewers in for the remaining two films in the Netflix trilogy. Janiak carves quite the beginning with 1994. It is intelligent, emotional, and just downright entertaining. Fear Street: Part One: 1994 is one of the best horror films of the year and maybe one of the best films I’ve ever seen period. 

RORSCHACH RATING:

Mental Health Moment: Fear Street 1994 handles the emotions of its characters with serious care. It’s one of the most admirable things about the movie. There is one scene in particular during the film’s climax I want to address for this mental health moment. There is an aside between Flores Jr and Hechinger discussing the semi-shallowness of Rehwald. While also building up the self-confidence of Flores Jr. Hechinger states: “Kate. She is a crusher. She doesn’t have time for most people...Kate is not nice. She sees something in you...So, see that in yourself dude.” 

For context the first act of the film establishes that Flores Jr. has a crush on Rehwald. Sure it means the world when the individual you’ve been crushing on finally notices you. However there is something much bigger that Hechinger establishes here at this moment. He is looking to remind Flores Jr. of his value, his worth, and that there is something special within him. I don’t know who needs to read this but the same goes for you. See in yourself what Rehwald sees in Flores. Jr. See in yourself the greatness that others see in you. Depression, anxiety, addiction. All of these things try to distort our sense of self-worth, when in reality your self-worth is so much greater than any of those things tell you it is. See in yourself the positive that others see in you.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Fear Street Part One: 1994 is property of Netflix. We do not own nor claim any rights.

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