Fear Street: Part Three - 1666 (2021)
114 min|Horror, Mystery|16 Jul 2021
6.6Rating: 6.6 / 10 from 64,190 usersMetascore: 68
The origins of Sarah Fier's curse are finally revealed as history comes full circle on a night that changes the lives of Shadysiders forever.

Fear Street Part Three 1666 (FS 1666) is the final installment of the Fear Street horror trilogy released by Netflix three weeks ago. Like its two predecessors, this third installment is based on the same name by R. L. Stine and directed by Leigh Janiak. This third two-hour film stars almost all of the first and second series cast, including Kiana Madeira, Benjamin Flores Jr., Ashley Zukerman, and Gillian Jacobs. So, is this final series able to complete this trilogy satisfactorily?

The big plot of FS 1666 is divided into two segments, namely past (1966) and present (1994). Continuing the story of the second series, Deena (Madeira) returns to the past, the year 1666, the beginning where the catastrophe on Shadyside began. After Deena finds out the mastermind behind it all, along with Josh, Ziggy (old), and Martin (a sheriff’s prisoner), they try to break the curse in this city and save her lover, Sam. Not an easy task because, again, they have to face the butchers from the past who can not be destroyed just like that.

Before entering into this third series review, I noted something unique in these three series. FS 1666 is like two films that are very far apart in time, more than 300 years. One plot segment is the origin of the curse of Shadyside, and the other is the ending of the curse. In the first segment, the timeline is long before the first and second series. In contrast, the second segment is shortly after the events of the first series. While the second series, the timeline also occurs before the first series. So, FS 1666 is both a prequel and a sequel. So if sorted is as follows: 3A (1666), 2 (1978), 1 (1994), then 3B (1994). The series structure is nonlinear. One thing that is rare in a film trilogy, especially the genre.

The third series (segment 1666) answers all questions in the first and second series. This first segment, in detail, tells the story of Sarah Frier. She uniquely uses the figure of Deena as her medium. Also, Sam, Josh, Ziggy (young), Cindy (young), and others, so we know the relationship between the characters in the story of the three series as a whole. This, of course, also makes it easier to digest the core plot. The relationship between the first and second series conflicts with this 1666 segment. The concept of setting the characters and the timeline in all three must be admittedly brilliant. The script can make a complex story simple.

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The second segment of the third series (1994) is much different from the first series of the film, where at that time, Deena and Josh acted recklessly and speculatively on things they did not understand at all. Now, with all the information intact, the actions become more tense and entertaining to watch. The motive is so strong, and the threat becomes real because the characters know very well what they are facing. The figure of Martin, who is a new player, becomes an insert of humor between his brutal actions. This is very different from the first series, which only indulged in the cat-and-mouse act and mere brutal action.

Like the first and second series, the setting is again a big point in the story. The third series that builds a past settlement looks convincing. The music and songs I didn’t cover much in previous reviews help the intense atmosphere in many scenes in the three series. Popular pop and rock songs in their respective eras are also fitting to accompany several of his charming montage segments. The castings also played well; it’s just that in this third series, the accent of the dialogue from the past (1666) still feels less exciting, even though they seem to have tried.

Fear Street Part Three 1666 is a satisfying resolution with a unique combination of storytelling and intense climactic segments. This one-pack horror trilogy with all its tributes is a rare achievement in its genre. Unfortunately, we can’t see these three films in theaters. This film is sure to make an extraordinary sensation for the audience, especially here. Speaking of themes, we all know where this series is going from the start. I don’t want to take a position other than just appreciating the story and cinematic aspects that this horror trilogy presents for the pros and cons. The way of speaking and the serialized story may become a trend in the future. It is said that this trilogy is currently trending. Unfortunately, there are no box-office figures that can measure the success of this film.

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.


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