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    Movie Review

    Fear Street Part Two: 1978 camps it up in second part of trilogy

    Alex Bentley
    Jul 9, 2021 | 12:45 pm
    Fear Street Part Two: 1978 camps it up in second part of trilogy
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    Sequels for horror movies have been standard since the 1980s when franchises like Halloween, Friday the 13th, and A Nightmare on Elm Street each churned out multiple entries. The connection between the subsequent films, and the resulting quality, often varied wildly, something that is not the case with the second of Netflix’s unique horror trilogy, Fear Street Part Two: 1978.

    Whereas the first film was an homage to the original horror parody, Scream, Part Two pays tribute to Friday the 13th by taking place mostly at a summer camp, Camp Nightwing. Shadysiders and Sunnyvalers continue their never-ending rivalry at the camp, with kids from the two cities engaging in a variety of competitions and pranks.

    The camp, however, just so happens to be on the site where the accused witch Sarah Fier was killed in 1666, and the curse she put on the land on that date infects Tommy Slater (McCabe Slye), who proceeds to go on a killing spree. Among those terrorized are Tommy’s girlfriend, Cindy Berman (Emily Rudd), her sister Ziggy (Sadie Sink), camp counselor Nick Goode (Ted Sutherland), and many others.

    Written and directed again by Leigh Janiak, with help this time from co-writer Zak Olkewicz, the film advances the overall Sarah Fier storyline while taking on the feel of the traditional slasher movie. Per tradition for those types of films, having sex almost immediately leads to someone being killed, and the killer is an unstoppable force with his chosen weapon – in this case an axe – even after he has seemingly been vanquished.

    What’s most impressive about this film and the series in general so far is how much care has been taken in telling a good story, and not just relying on the bloody murders to carry the day. The plot is deceptively simple, but the filmmakers make sure to get the audience invested the characters. Save for a couple of scenes, the film has a whole new group of characters, and they become just as interesting thanks to the time devoted to telling us who they are.

    The actual horror part of the film is filled with standard issue jump scares foretold by ominous musical cues, but we already know they’re not trying to reinvent the wheel. Just like the first film, Part Two is filled with a plethora of era-appropriate songs, so much so that you wonder what they’re going to do in Part Three when they can’t artificially set the tone with rock or pop songs since it’s set in 1666.

    Except for Sink, whose fiery red hair and equally fierce spirit played as big a part in Stranger Things as they do here, the cast is once again filled with unfamiliar faces. But the casting department did its job well, as each person fulfills their purpose strongly, especially Rudd, Slye, Sutherland, and Ryan Simpkins.

    Many of the actors from the first and second films will be playing multiple characters in the finale, due on July 16, and given how well the filmmakers have done so far, there’s little doubt they will be able to integrate the characters successfully. Making good horror movies, and especially sequels, has proven difficult for many, but Janiak and her team are showing how it can be done.

    ---

    Fear Street Part Two: 1978 debuts on Netflix on July 9.

    Camp Nightwing in Fear Street Part Two: 1978.

    Camp Nightwing in Fear Street Part Two: 1978
    Photo courtesy of Netflix
    Camp Nightwing in Fear Street Part Two: 1978.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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