Fear Street: Part Two - 1978 (2021)

There will always be a place for retro in horror. It's tricky business, trying to get that period right, though. I think what did help those behind the making of "Fear Street: Part Two - 1978 (2021)" is that almost the entirety of this second film in the Witch Sarah Fier supernatural slasher series remains exclusively at Camp Nightwing. So you can be relieved of the stress of anachronism historians looking for time errors to post on the film's IMDb. I do freely admit that I do smile with that "Okay, you got me," in regards to key songs from the likes of Bowie, Kansas, Blue Oyster Cult, and The Runaways. I can see smoke blowing out the ears of some who might find their use in a horror film to be desperate with putting the punch to the nose of THIS IS 1978 SO THIS MUSIC MAKES SURE YOU ARE REMINDED OF THAT.

The connective tissue of the Ziggy Berman character (in the "present" of 1994 its Community star Gillian Jacobs, in 1978 the character is portrayed by Sadie Sink, of "Stranger Things") between 1978 and 1994 is really neat, I thought. I really enjoy the idea of there being period films connected to a singular "evil", where a spirit doesn't seem to die as in the case of witch Sarah; she moves from one innocent host live body to the next, hacking and stabbing her way through a lot of youth -- well, anyone in the general area of whoever she takes possession of --  while survivors try to come up with some available option to stop her. Perhaps a severed hand "returned" to Sarah's remains will do the trick. Or, will it? If you love summer camp comedies and slashers, this film seems to really conjure the same spirit of those oldies from that period of the late 70s/early 80s. I'm the first to admit that I'm just a whore for any horror film paying tribute to the 70s or 80s...all you really have to do is get the period down so it at least feels like I'm transported back to a different era. It isn't altogether easy, though. Throwing period clothes on the cast and altering their hair styles isn't just it, though. Capturing the spirit of that time is crucial. I think Leigh Janiak has a talented team around her and a cast dedicated to getting 1978 right. Now I stared with 1978 instead of 1994, because I was a teenager in 1994 and I just prefer to start in a time warp to when I was just one years old.

There is Ziggy, the object of bullying, led by Sheila, head bitch (Chiara Aurelia) and her gang, calling Ziggy the witch. This rivalry continues throughout the film. Ziggy is full of piss and vinegar, with plenty of attitude and don't-give-a-shit to spare. Her "goody-two-shoes" sister is Cindy (Emily Rudd), a dedicated counselor in Polo shirt, with a work ethic built in as a motivational tool to push her into later success...she wants to make something of herself, to prove she doesn't have to be just a child of an alcoholic mother and adulterous father who left the Berman family for a younger woman. Ziggy storms off or mouths off while Cindy tries to fit a model of professionalism and perfectionism. To be a good counselor in camp, to be a great student, to hang out with the "right people", remain virginal and on the track towards the "up and up". Ziggy, on the other hand, will spit in your eye and tell you to fuck off. One of the male counselors is Nick Goode (Ted Sutherland), with prospects in law enforcement...prospects that do pan out. To Nick's credit, while his brother, Will (Brandon Spink), is merely a follower of Sheila, and fellow counselor, Kurt (Michael Provost) is too busy fucking one of the other campers, he steps up to try and corral those not yet butchered by the ax of Cindy's possessed boyfriend, Tommy Slater (McCabe Slye). Nick gets Kurt to bus out the kids still alive while trying to protect Ziggy. 

The film reveals that Ziggy and Nick are budding as romantic love interests, bonding over Stephen King and feeling as if they are outcasts, quite alienated by their peers. Nick, of course, isn't really that, but as Gillian Jacobs in 1994 proves, Ziggy remains very much on the outskirts of society, further alienated by her claims Sarah was responsible for the 1978 murders, not Tommy. Tommy was the vessel for Sarah to wield her ax, one chop at a time. So Cindy, seeing the young sweetheart who wouldn't harm a fly in the past just hacking everyone to collapsed mush, is met with quite a quandary. The Tommy she once fell hard for is no more...Sarah has him now.

Also emphasized is the strained friendship of Cindy and pot-smoking, oft-cavorting, Alice (Ryan Simpkins). Cindy basically needed to separate from Alice as a means to present herself more palatable and build a status quite the polar opposite of her sister, Ziggy. So Alice will look for whatever drugs are available and bang her beau, Arnie (Sam Brooks), as she opposes Cindy's efforts to be a model counselor. Alice could give two fucks if the summer camp runs smoothly; she'd rather just go off with Arnie, hop on an office table, and let him ride her until both are eventually exhausted. When Cindy and Alice find themselves trapped underground, after Sarah-possessed Tommy takes a few wacks of the ax to Arnie's face, they will need to find a way out, eventually locating the underfloor of a cabin when Ziggy is trying to avoid that same swing of the ax. While dealing with what caused a fissure in their friendship, they will also study a book on the witchcraft of Sarah, looking for answers as to stop her.

Now that my War and Peace is plopped down on the blog, what gives in regards to the slasher genre? Well, Tommy hacks a lot of folks. Faces become unrecognizable and heads are taken off. Poor Drew Scheid has assumed the Miguel Nunez role of dying in every horror film he appears. I can tell he'll also be similar to Miguel in terms of standing out in the cast even when the material he's given doesn't deserve him. It's hard to duck the ax when you are busy pulling on a rope, trying to help Ziggy bring Cindy and Alice out of their trap into the cabin. That ax gets a lot of body work. Sarah really wanted to shed some damn blood.

A nurse in the camp has a daughter that murdered folks. She felt her daughter was a victim of Sarah's as well. The nurse found the home of Sarah, not wanting to knife Tommy, but she understands that he must die in order to save other lives; however, she's thwarted of that, interrupted by Cindy, unaware of what was ahead. On the wall of Sarah's "home" has a list of names carved in stone. Tommy's name was on that wall. The nice guy and model boyfriend is gone and Sarah, with a lot of blood to spill, takes that body and before long, Slye looks exactly like another Jack Torrance. 

Sadie is clearly positioned strongly in this 1978-set film. She's not one to mince words and her walk shows every ounce of frustration and angst (and rage) she feels. Ziggy never fits in. When she argues and fights with Cindy, it is over reality as opposed to dreams. Cindy dreams of making something out of life while Ziggy sees no future for either of them. It seems to be cynicism and hope so directly at odds, the sisters can't seem to be around each other without hurt as a result. But, by the end, they are trying to fend off a bunch of corpses revived by Sarah, as axes and knives come from all sides, without much chance to escape.

Important to the film is how 1994 isn't done yet. Deena (Madeira) and Josh (Flores, Jr.) remain and need to know how Ziggy outlasted Sarah in the past. So the series makes sure all time periods remain tied together. Touching Sarah's hand seems to teleport Deena to 1666. Deena certainly seems to occupy Sarah's body in that time period. This is preparation for what is to come in the series. 3/5

Of course, I get done with this mammoth, and I forget about the 'sackhead Jason' homage. It is so blatantly homage. Sack over the killer's head as he charges forward to kill the remaining survivors not yet butchered.