‘Hell of a Summer’ Review: ‘Stranger Things’ Star Finn Wolfhard’s Co-Directing Debut Is a Cut Above

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For over two decades at EbMaster, I’ve only occasionally delved into slasher movie reviews. Some might call me old-fashioned, but I haven’t found much enjoyment in what Roger Ebert termed “dead teenager films.” However, unexpectedly, this week finds me penning thoughts on three (no, it’s not an April Fool’s prank). The most straightforward reason I can identify is that, during a period of significant economic instability within the film industry, horror movies are thriving: They’re affordable, they’re lucrative, and they consistently attract viewers without requiring hefty marketing budgets.

Neon astutely acquired “Hell of a Summer,” a summer camp slasher comedy that made its appearance in Midnight Madness at the Toronto Film Festival around last summer, almost an entire year after its initial premiere. The film is quite derivative but remains enjoyable thanks to its engaging cast and well-developed characters, particularly Fred Hechinger, who plays a 24-year-old with an insatiable affection for Camp Pineway in “Thelma.” Notably, it serves as the feature directing debut of “Stranger Things” actor Finn Wolfhard and his co-star Billy Bryk, who found success together on the set of “Ghostbusters: Afterlife.

As a movie enthusiast, I was intrigued when I heard Neon was screening a fresh take on an aged formula – a group of 13 counselors unknowingly stepping into danger at Pineway. Despite being another installment in a familiar genre, the film had gained a reputation for its engaging storytelling and devoted fanbase, prompting Neon to host two weeks of preliminary screenings to generate buzz among their followers. Eager for an evening out, I grabbed a ticket for a sold-out showing and was captivated from the very first scene – it felt like nothing I had experienced before.

In these classic films such as “Jaws” and “Halloween,” the initial deaths play a crucial role in shaping the film’s atmosphere and revealing the filmmakers’ style. What stood out to me was not just the inventive ‘kills’ (which, while creative, are meant more to entertain than frighten), but the skillful creation of relatable modern characters – a young couple bantering by the lake – before their untimely demise.

For as long as I’ve been on this planet, combined with Wolfhard and Bryk’s age, it’s clear that they have watched more horror movies than me. In fact, I only recently watched “Friday the 13th” last year, which was due to researching EbMaster’s list of the 100 Best Horror Movies of All Time. Although it didn’t make the final cut, I felt compelled to watch it. On the other hand, these young filmmakers not only watched “Friday the 13th” but absorbed its essence and numerous imitators so deeply that they can both reference and twist the conventions – from Jay McCarrol’s catchy electronic score (a tribute to John Carpenter) to Kevin Williamson’s screenplay for “Scream,” which presents a postmodern killer-as-pop-culture-addict meta-critique.

Initially, a scene reminiscent of “Friday the 13th” is presented, shot from the perspective of a character hidden among bushes, which isn’t merely coincidental considering Hechinger’s character name, Jason. His mother wonders if he should progress with his life instead of revisiting Pineway, where he has spent numerous summers – initially as a camper and later as a counselor. This place holds such a strong pull for Jason that despite the potential for distressing events over the next 24 hours, it might be enough to finally help him break free from his prolonged adolescence. Hechinger is an ideal fit for this role, imbuing the character with the right amount of optimism and naivety, making the awkwardly heroic portrayal endearing.

In the initial scene, the couple who meet an unfortunate end are absent from camp. At this point, Jason takes command of the remaining 10 counselors, a group who aren’t particularly dedicated to their roles. Instead, they seem more preoccupied with flirting and arguing over cabin assignments, as well as discussing dietary preferences – a level of distraction that is both annoying and somewhat amusing for the audience, subtly encouraging them to hope that the killer might take care of the less serious counselors.

In this group of potential victims, Wolfhard portrays Chris, a compassionate student majoring in gender studies who appears more advanced than the usual cavemen characters found in such movies. Aspiring social media sensation Demi (Pardis Saremi) is reluctant to part with her phone. Dramatic and flamboyant theater enthusiast Ezra (Matthew Finlan) amplifies his screams for added effect. Shannon (Krista Nazaire) and Claire (Abby Quinn) appear strong enough to survive on their own. On the other hand, Bobby (Bryk), who is extremely eager for romance, feels offended that he hasn’t been killed yet, as he assumes the kill list is ranked from most attractive to least appealing when he discovers it.

The incidents are primarily designed to cater to our perspective, resulting in some inconsistencies in the narrative (for instance, if a murder isn’t depicted, it’s likely that it didn’t occur, but why would the characters believe otherwise?). This pattern also justifies the villain wearing a red devil costume – to avoid being identified prematurely by the audience. Wolfhard and Bryk maintain an atmosphere of suspense and humor throughout, and despite various tools like axes and pocket knives serving as weapons, the most impactful edits are done by Christine Armstrong and David Marks, who skillfully hide budget constraints while seamlessly transitioning between scenes.

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2025-04-02 04:17