Unless you're Kevin Williamson, chances are you never make a horror movie with the intention of sequels. Williamson, the writer of Scream, famously pitched the meta slasher as a trilogy - even going as far as to write the idea into his contract for the first film. Sure enough the film was a massive hit and Williamson famously returned. He may be the only one to look at a story in this way. Horror juggernauts like Freddy Krueger, Jigsaw, and most notably Michael Myers, were never created with the intention of sequels. Myers' creator John Carpenter only returned to Haddonfield in order to make other movies. He has constantly gone on record calling Halloween II one of the biggest mistakes of his career. Likewise, Texas Chainsaw Massacre director Tobe Hooper went through the same ordeal. It is the sole reason we even have The Texas Chainsaw Massacre II to this day. It was Hooper’s middle finger to the industry for forcing him to make it.

Craven never intended to make a second Nightmare on Elm Street movie either. Eventually he would return to the franchise as a co-writer of what many believe to be the best entry in Nightmare on Elm Street 3: Dream Warriors, and again later, for my personal favorite, in Wes Craven’s New Nightmare. Even the ending to the original 1984 film was delivered by studio interference. Craven wanted the film to be one and done. Indie filmmakers James Wan and Leigh Whannell never set out to make the saga we now know as Saw. The original vision was to establish the eerie intimacy of the original 2004 low-budget film. To everyone’s surprise these films garnered sequels and eventually evolved into a franchise. Most of the original filmmakers refused to return to create sequels because they wanted to contain their original visions.

The exception to this is of course Carpenter and Hooper. It’s easier to come up with an original vision like Halloween or Friday the 13th. There is a natural evolution to these stories and characters. When studios are aiming to capitalize on the hype of the first entries; this is where trouble usually starts brewing. Sequels are a hard thing to do. There are modern day exceptions to this rule but they are largely ignoring entire canons to make their own visions work. Co-writer and director Leigh Janiak set out to make a trilogy when she did Fear Street with Netflix. Now in its second chapter, Janiak and company set out to further the influence of Sarah Fier in 1978. Set 16 years before the events of 1994, the second chapter tells the story of a group of campers and counselors being hunted by the possessed spirit of Fier. 

With 1994 serving as an homage to Scream and New Nightmare, 1978 turns up the love for Friday the 13th. Even the masked killer’s costume design appears to be modeled after Friday the 13th: Part II’s Baghead Jason. Friday is an extremely influential franchise, even if the later films aren’t quite as beloved as the original film. The setting of Camp Nightwing feels like the exploration of Camp Crystal Lake in Friday the 13th Part VI: Jason Lives. 1978 definitely operates itself as a distant cousin of the hockey mask slasher films. That’s not necessarily a bad thing. It’s entertaining from start to finish. Unlike its predecessor, however, this film seems to drop the ball on the emotional beats of the characters.

We’re introduced to a plethora of characters throughout the first act. Much like Friday films, these characters are established to be nothing more than bodies to drop later in the movie. Janiak attempts to establish a romantic relationship between Nick (Ted Sutherland) and Ziggy (Sadie Sink), but the two just don’t have chemistry between them. This results in the romance coming across as forced and even at times mildly creepy. Nick even establishes at one point that their romance is forbidden - the camper and the counselor. This right here solidifies the film’s inability to create a believable couple out of Sink and Sutherland. 1978 falls hard after the slasher formula of the 80s by creating stereotypical characters that are void of purpose on a multitude of levels. 

Despite the shallowness that 1978 presents, the film still is incredibly fun. The horror gags are sure to satisfy any fan of the genre. Much like last year’s Mank, this film was created with a niche audience in mind, unlike 1994, which had a general audience in mind for its story. 1978 cements itself in the traditions of the 80s and shares the creative body count trope. I don’t want to sound like there is no depth to this film. On the contrary, there are a few scenes between characters that are quite emotional. They are so scarce though that they are only overshadowed by the film’s lore and ever growing body count. Once again, the film is paced exceptionally well. That is something that Janiak and her writing partner Zak Olkewicz know how to do well. They know how to tell a story and pace it just right. 1978 does have its dead moments, but the film is still filled with compelling lore and satisfying horror moments.

Overall, Fear Street: Part Two: 1978 might not stand as strong as its predecessor but it manages to be a worthy companion to the initial offering of the trilogy. Once again, Leigh Janiak fills the frames with wonderful performances, thrilling kills, and marvelous pacing. The film’s homage to Friday the 13th can be suffocating at times. 1978 feels less like a second chapter in a trilogy and more like a distant cousin of Jason. It is the cinematic equivalent of someone cosplaying as the iconic slasher. Fear Street 1978 still manages to be entertaining, even if it’s filled with dull characters. 

RORSCHACH RATING:

Mental Health Moment: There is a moment in the film between characters Cindy (Emily Berman) and Alice (Ryan Simpkins) where the latter confesses to self-injury through cutting of the wrists, taking off her bracelets to showcase a jungle of scars. It should be worth mentioning the film portrays these characters’ relationship as rocky to say the least. They would best be described as “frenemies”. It’s one of the film’s few tender moments but establishes Simpkins as a character who is mournful of her scars, citing that they were circumstances of a rough childhood.

From someone who has struggled in the past with self-injury and hatred, eventually that pain ends up pouring out. I only cut myself a few times but I always did in areas where people couldn’t see. It became the overflow of my trauma. I don’t know who needs to read this, see this, or just be reaffirmed in this, but stay with us - please. Life can be hard but you have so much value and worth. Even if this portion of life is rough now, that’s not to say the next bit won’t be. Consider our resources please.

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 1978 is property of Netflix. We do not own nor claim any rights.

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