The well-trodden path back to Shadyside, Ohio, beckons once more, this time leading us to the neon-hued anxieties of 1988 in “Fear Street: Prom Queen.” This installment positions itself as a distinct chapter within the larger Fear Street mythos, content to tell its own tale of terror. The premise is a recognizable one for aficionados of the slasher form: the seemingly innocent, if fiercely contested, race for Shadyside High’s prom queen tiara.
Yet, this being Shadyside, the path to coronation is paved not merely with social maneuvering but with a mounting body count, as a newly masked assailant begins to systematically eliminate the hopefuls. The narrative machinery cranks up around this central, sanguinary pageant.
The Players in Peril: Archetypes on Prom Night
“Fear Street: Prom Queen” assembles its cast of potential victims and villains around the bright lights of the school gymnasium, adhering closely to established teen horror frameworks. At one side stands Lori Granger, fashioned as the earnest underdog whose quest for the crown is presented as a route to rectifying some unspecified familial shadow.
India Fowler imparts a certain wide-eyed determination to Lori, though the script offers limited dimensions for her to inhabit beyond this foundational “good girl” template. Opposite her, Fina Strazza’s Tiffany Falconer embodies the quintessential queen bee, a figure of calculated cruelty whose lines are delivered with a practiced sharpness. Their rivalry forms the nominal spine of the high school drama, a predictable antagonism that the story uses as its primary engine for interpersonal tension.
More intriguing, perhaps, is Suzanna Son’s portrayal of Megan, Lori’s staunchly loyal best friend. Megan, the self-styled horror aficionado and special effects hobbyist, offers a flicker of personality that occasionally pierces the film’s otherwise rote character constructions; Son injects a verve that makes Megan a point of interest. The remaining coterie of prom queen candidates, the so-called “Wolf Pack,” largely function as extensions of Tiffany or as quickly dispatched narrative devices, fulfilling expected slasher film quotas.
Adult figures, from Lili Taylor’s vice principal to Katherine Waterston’s ambitious mother, drift through the periphery, their presence more functional for plot mechanics than for adding any substantial depth or complicating the teens’ deadly predicament. The performances across the board seem constrained by the material, with most navigating familiar archetypal spaces rather than being afforded the opportunity to build truly memorable individuals.
The ’80s Veneer: A Palette of Pastiche
The journey to 1988 in “Fear Street: Prom Queen” is less a meticulous reconstruction of an era and more a curated collection of its most recognizable, surface-level signifiers. Big hair and even bigger shoulder pads populate Shadyside High, yet the visual representation often feels like a theme party checklist rather than an organically rendered period.
The prom dresses themselves, a focal point for any 80s formal, appear curiously flat, lacking the exuberant, often questionable, flair of their historical counterparts. Cinematography leans into a certain dimness, a choice that might intend to evoke slasher gloom but frequently results in a murky visual field where details are obscured rather than artfully shadowed.
The soundtrack dutifully deploys a barrage of pop anthems from the decade, each needle drop an auditory cue for nostalgia. These songs punctuate scenes with varying degrees of narrative relevance, at times feeling more like a mixtape overlay than an integrated component of the film’s atmospheric design. The result is an environment that gestures towards the 1980s but seldom convinces of its authenticity, creating a backdrop that is more decorative than immersive.
The Crimson Chronicle: Suspense and the Slasher’s Work
When the masked assailant in their distinctive red raincoat begins their grim work, “Fear Street: Prom Queen” engages with the core mechanics of the slasher subgenre. The film’s capacity to build genuine suspense, however, is inconsistent.
Sequences leading to confrontations often lack the methodical tightening of tension that marks more effective thrillers; the audience is frequently aware of impending doom without the accompanying prickle of unease. The kills themselves are a mixed ledger. A sequence involving a guillotine paper cutter offers a moment of grim creativity, a wince-inducing use of a mundane object.
Other instances of violence are more perfunctory, dispatched with a directness that prioritizes the gruesome outcome over the suspense of the encounter. Some altercations with the killer feel abrupt, their choreography and impact lessened by hasty presentation or a tendency to avert the camera’s gaze at the critical moment.
The pacing of these horrific episodes is somewhat scattershot, leading to a variable sense of threat rather than a steadily escalating dread. Consequently, its effectiveness as a generator of fear is sporadic.
Narrative Blueprint: Plotting Prom Night’s Perils
The screenplay for “Fear Street: Prom Queen” constructs a fairly straightforward path through its night of terror, relying on familiar story beats. Dialogue frequently serves purely functional ends, moving characters from one plot point to the next or delivering necessary exposition with little linguistic flourish.
Character motivations, particularly for the central goal of attaining the prom queen title, are sometimes thinly sketched, making their intense dedication feel more like a narrative requirement than a deeply rooted personal drive. The plot unfolds with a certain predictability common to the slasher template, and the eventual reveal of the killer’s identity may not surprise viewers attentive to the genre’s conventions.
The story moves at a brisk clip, seldom pausing for detailed character work after the initial setups are complete. This rapid progression ensures a tight runtime, but it also means that some narrative threads and character relationships are left underdeveloped. The film delivers a recognizable slasher structure, fulfilling the basic requirements of its chosen form.
Fear Street: Prom Queen is a standalone installment in the Fear Street franchise, based on R.L. Stine’s 1992 novel. The film was released on Netflix on May 23, 2025.
Full Credits
Director: Matt Palmer
Writers: Matt Palmer, Donald McLeary
Producers: Peter Chernin, Jenno Topping, Kori Adelson
Executive Producers: Yvonne Bernard, Jane Stine, Joan Waricha
Cast: India Fowler, Suzanna Son, Fina Strazza, David Iacono, Ella Rubin, Chris Klein, Ariana Greenblatt, Lili Taylor, Katherine Waterston
Director of Photography (Cinematographer): Márk Györi
Editor: Christopher Donaldson
Composer: The Newton Brothers
The Review
Fear Street: Prom Queen
"Fear Street: Prom Queen" offers a familiar dance through 80s slasher territory, ticking expected boxes with its masked killer and imperiled teens. While providing a few gruesome moments and a standout supporting turn, the film largely presents a thinly drawn world and a narrative that seldom surprises. Its period dressing feels superficial, and the generation of genuine suspense or atmospheric dread proves elusive, resulting in an exercise in genre mechanics rather than a truly gripping return to Shadyside.
PROS
- Suzanna Son’s energetic performance as Megan.
- A couple of creatively staged kill sequences.
- Maintains a swift narrative pace.
CONS
- The 1980s setting often feels like a surface-level imitation.
- Fails to consistently build suspense or deliver potent scares.
- Characters are generally underdeveloped with a thin central plot.
- Dialogue is often functional rather than memorable.
- Horror elements can be predictable and uneven in execution.
