Fear Street, Part 3 – 1666 (2021)

A tribute to LGBTQ+ romance by the lens of real historical puritannical/xenophobic horrors juxtaposed with supernatural ones avec dark atmosphere & a bold narrative rewriting the entire trilogy, but ’94’s painfully-weak cast, lazy finale, & ~trilogy-breaking plotholes. 6.2/10.

Plot Synopsis: In 1666, a colonial town is gripped by a witch hunt that has deadly consequences for centuries to come, while teenagers in 1994 try to put an end to their town’s curse before it is too late.

*Possible Spoilers Ahead*

Official CLC Review

The Trilogy Finale

A Mixed Progression Of Unoriginality & Innovation; Somnambulence & Slasher Thrills; Bad Firsts & Good Seconds; A Fe[i]ar Street -> Final Destination Back In 1600’s

Photograph Courtesy Of: Netflix Films

The Fear Street Trilogy has certainly had its detours, traffic, and unpaved bumpy-rides. Though it boasted great killer designs, retro ’90’s soundtrack, a strong final act cliffhanger, & promising concept across decades of lore, FSP1 was a highly-unoriginal R.L. Stine trek through clichéd meta-slasher references with relationship melodrama [mishandling a golden opportunity to bring LGBTQ+ to horror], weak performances, miscastings, teen edge, and fleeting yawnable kills. A 10x-better cast of new veteran performances, stronger horror by F13PII-homaging axe-clad kills, fantastic retro glam-rock soundtrack, & perfect eulogization/recreation of the best setting in the subgenre’s history: sex/drug-crazed teenage spirit fueled ’70’s summer camp, Part 2 fixed the sins of its predecessor to get the trilogy back to green lights, and this all led to the finale. Having been to Salem, MA in real-life when I was living in the Cambridge as a student at Harvard [we went on halloween weekend too.. not exactly our best choice], you feel chills in the atmosphere of how dark the place’s history is – one we’ve cried is perhaps the zenith setting of the horror genre since Robert Eggers’ 2015 masterpiece The Witch, and one realized by Fear Street: Part III.. well, partially, that is. A tribute to LGBTQ+ romance by lens of real-life puritannical horrors of paranoia, groupthink, xenophobia, & religious hypocrisy juxtaposed w. supernatural ones avec dark atmosphere in a legendary genre 1600’s colonial background authentically-recreated by moonlit forest witch aesthetics and folk orchestration, FSPIII’s positives and bold, hyper-ambitious narrative structure rewriting the entire trilogy is ~ruined by the resurgence of ’94’s painfully-weak/out-of-league cast, a lazy finale, & huge plotholes.

The Zenith Setting Of Supernatural Horror

The Netflix Artisans Behind-The-Scenes Recreate A Breathtakingly-Authentic Canvas Of 1600’s: Visual Aesthetics, Orchestration, Costumes, Sets, Etc.; Near 100% Perfection

Photograph Courtesy Of: Netflix Films

Overall, Fear Street: 1666 is a mixed trilogy conclusion that both succeeds and fails spectacularly in different ways. The film is structually-astounding with a twisty narrative construction employing the best of Netflix’s TV-honed talents and prowess to ambitiously rewrite its entire trilogy and humanize whom we were skillfully-misled the entire time into thinking is the real big-bad by taking us into the POV/perspective of Sarah Fier to make her a tragically-compelling heroine against every preconception previously-established. The greatest achievement of the film is its beautiful tribute to LGBTQ+ romance through the lens of historical darkness & real-life puritannical horrors they tragically faced for just being themselves: paranoia, groupthink, xenophobia, legacy, and religious hypocrisy of settlers preaching American Christian values of loving thy neighbor and reserving judgment to God while hanging/fire-setting/drowning people out of mere accusations in the 1600’s Salem Witch-Trials just as scary as any of the supernatural horror that gets delivered too [with one insanely-dark Cyrus scene at the church house amongst the most twisted & sadistic in horror in a while; even children are fair-game].

A Panegyric To LGBTQ+ Romance

A Beautiful Tribute To Unbreakable Love Fighting The World By Lens Of The Real-Life Puritannical Horrors Of Paranoia, Groupthink, Xenophobia, & Religious Hypocrisy As Evil As Its Supernatural Ones

Photograph Courtesy Of: Netflix Films

One of the most legendary & zenith settings in horror we’ve been screaming since the release of the Top 10 All-Time horror masterpiece of Robert Eggers’ 2015 The Witch, the pilgrimic colonial atmospheric darkness is brought to life majestically by Netflix’s team of audiovisual artisans in both painstaking period authenticity in moonlit forest aesthetics and a fantastic score of uptempo folk acoustic strums and classical orchestration. They even showcase some of the connections it share with modern day like stigmatization against minority-outgroups and the rebellious punk nature of youth always in search of drugs, sex, and good times. If it has all of this going for it, it must be a great film, right? Wrong. The film is plagued by the first film’s worst parts that hang over it like The Shadyside Curse: a vexingly & inexplicably weak cast it’s a damn shame squanders such a complex & potentially-amazing script/intangibles that could’ve been powerful enough to become the next Stranger Things phenomenon under better execution. Every miscast actor and actress from the original is back, and while they’re [somehow] slightly better in the more challenging period roles than being modernized young people back in 1994 to make the paradox even weirder, they still suck and perform it like a high-school play version of what this could be.

Dark Horror.. In One Act

One Standout Scene Amongst The Most Psychologically-Morbid & Twisted *Ever*: The Churchouse Scene Of Cyrus – But Where Are The Rest Of The Scares Overall?

Photograph Courtesy Of: Netflix Films

We said it back in the original film and we’ll say it again: Kiana Madeira is woefully out-of-her-league and a Disney Channel-alum who belongs there, and she’s surrounded by the same Olivia Rodrigo-lookalikes and fratty bro cookie-cutter archetypes as the original film – and don’t even get us started on the B.J. Novak Office-clone given the major villain role he plays with the thespian pedigree and scariness of a daytime television rom-com. Gosh, while I understand why the faces are back to contextualize Deena into Fier’s story and make her truly feel the pain of loss and betrayal she faced by her own community at Union, it damn near ruins the film and such a subversively-grand script by how unspeakably-awful the cast is by Netflix studio-execs cheaping out on getting ST-level pedigree again [making no sense when they spend millions on everything else like top-notch VFX unnecessary] or being too preoccupied with wokeifying every one of their projects to care about the people whose shoulders the entire execution/deliverance rests on and, here, they crumble under as they did in fellow-2021 Netflix release Army Of The Dead’s weak cast.

The Narrative Structure

Perhaps Most Impressive From A Cinematic Standpoint Is How Netflix Taps Into Their TV Talents To Break Our Preconceptions By Making Its Villain A Tragically-Compelling Character & Rewriting The Entire Trilogy

Photograph Courtesy Of: Netflix Films

The film also loses itself in the finale painfully taking us back to the series’ worst part of the experience in 1994 [false advertisement since the 1666 part the film’s best & most at-home in only lasts 1/2 the runtime] – now with a number of *huge*, trilogy-breaking plotholes mystifying by how avant-garde and proficiently-structured its arc exposition and narrative is: the cinematic equivalent of baking a Michelin star-level soufflé and forgetting to take it out the oven. The entire crux of the film’s events lie on Fier’s accusation of witchcraft by the settlement – and it follows the question of anyone ‘having proof?’ of who did it and a [of course, wouldn’t be Netflix unless every villain is one!] cis white male screaming it was Fier and her girlfriend because they turned him down.. without any proof by the exact question that was just asked but one the crowd randomly overlooks that time. We know false accusations were made and believed against all sorts of women and homosexuals of both genders solely by word in the real-life horrors of the witch-trials, but they dug their own hole purposely-scripting it in a way of obvious flaws. They even say they’re checking Sam’s body for the witch’s mark – which would obviously also prove she wasn’t one by its absence never-alluded again in the screenplay.

The Painfully-Weak Cast Of ’94

The Next Stranger Things Potential Is Squandered By A Cast Of Disney Channel-Alums & High School Theatre Performances Wildly-Inexplicable In This Big Of A Project

Photograph Courtesy Of: Netflix Films

They could’ve easily just written it as Cyrus saying her name when he goes after her on the altar in front of the entire room full of grieving families if they wanted to have the crowd believe she was the witch with actual believable proof – without plotholes and a way I just fixed their script free-of-charge in 30 seconds. Also, if Sarah lets her story be seen and experienced by everyone coming into contact with her or the red moss, why did none of the hundreds or thousands of people – including Sam who had literally days or weeks alive in 1994 and Ziggy before she led herself and her sister to their deaths back in 1978 – tell anyone the real story or think of a way to stop Goode while his bloodline carried out genocidal evil turning innocent people in their own town into cold-blooded murderers… FOR OVER *350+ YEARS*!?!? Or why did they not see it when Deena did and it’s said she tells everyone her story & the truth? Why would the killers keep going after the trio in the mall in the final act when Deena’s no longer around and they have no blood on them, and why wouldn’t they go after Ziggy too or possess her like they did Sam being someone who survived?

A Paradoxical Tale Of Two Halves

A New, Fresh 1600’s Horror Film Possessed By A Pugnaciously-Average ’90’s One, The Entire Back-Half ~Kills The Film: Yawnable, Basic, Clichéd, IQ-lite Slasher Franchiseisms

Photograph Courtesy Of: Netflix Films

We can go on-and-on poking holes the size of blackholes in galaxies far away as a microcosm of how flawed and lazily-scripted the finale is. Okay, one more: finally, it’s laughable that the Goode family, after killing all those people and selling their souls to the devil for ‘money, legacy, and power’, would become… police-officers barely scraping by at 15-20k/year or mayors of podunk nobody towns in the middle of Idaho nobody cares about instead of presidents, fortune 500 CEO’s, billionaires, etc. with actual versions of these. LMFAO. They didn’t even kill Sheriff Goode’s brother mayor of Sunnyvale – if it’s passed down through the family tree then it would have to go through him too since he’s a descendent of Solomon so why did killing Nick stop it? They also never even explained how they exonerated Sarah Fier’s name and brought justice – or did they just.. not, since there’s not even a reference of them doing so? The killers also stand plodding around like mindless zombies in the finale brimming with lazily-plotted action & horror clichés as basic as any other genre picture this year & moronic dialogue like Josh telling a satanic demon axe-wielding slasher ‘Get off of me! GET OFF OF ME!’ in stark contrast to everything avant-garde and original the film was through its first half, lite-to-nonexistent horror outside of its first half, and the open-ended post-credits scene is everything wrong with the movie industry.

Trilogy-Breaking Plotholes

The Deficiency Of ‘Proof’ After Specific Address For The Crux Of Trilogy’s Events, Goodes Selling Souls For ‘Money & Power’ To Become.. Cops, No One In 350+ Years Telling World Abt Feir, The Goode Family Tree, Etc.

Photograph Courtesy Of: Netflix Films

The way it leaves the door open for another sequel trilogy [after a trilogy of movies that somehow weren’t enough] by the again plothole of why Deena & Sam walked right by the book Solomon used to make the deal in the first place with the basic level of common-sense intelligence to destroy it since it’s the real villain and how any of the Shadyside events happened in the first place before someone else grabs it and does it all over again [which, surprise!, it does as the credits turn back] is an ending that leaves a bad taste in your mouth. Overall, FSP3 is a great horror movie stuck in the body of a painfully-average and [barely] passable one – a possession more tragic than its events’ and the LGBTQ+ cause deserving far better cinematic representation than what this and 1994 delivered; a fresh and original film through its first half that falls apart into a basic action-blockbuster of lazy clichéd franchiseisms. A tribute to LGBTQ+ romance by lens of real-life puritannical horrors of paranoia, groupthink, xenophobia, & religious hypocrisy juxtaposed w. supernatural ones avec dark atmosphere in a legendary genre 1600’s colonial background authentically-recreated by moonlit forest witch aesthetics and folk orchestration, FSPIII’s positives and bold, hyper-ambitious narrative structure rewriting the entire trilogy is ~ruined by the resurgence of ’94’s painfully-weak/out-of-league cast, a lazy finale, & huge plotholes.

Official CLC Score: 6.2/10