SUMMER OF 84: A Stylized Thriller with an Atmosphere Reminiscent of Stephen King’s Novels

The 1980s have been making a comeback for so long that this resurgence is soon to outlast the decade itself. In music, Simon Reynolds highlights the negative effects of retro culture in his book “Retromania: Pop Culture’s Addiction to Its Own Past”. While I haven’t encountered a similar analysis of cinema yet, perhaps a viewing of “Summer of 84” will inspire someone to write a manifesto titled “Return to the Present”. Because, really, how many times can we trade originality for the sight of white Nikes pedaling a BMX against a backdrop of synthesizers? At least once more, as “Summer of 84” skillfully hooks viewers and holds them captive. The film’s atmospheric poster is an effective lure, and the solid execution reels you in. Behind the wheel is the directorial trio of François Simard, Anouk Whissell, and Yoann-Karl Whissell, who made their debut with the eccentric “Turbo Kid”. That film brilliantly combined post-apocalyptic themes, gore, and romance—all in a decidedly ’80s style.

Set in a small Oregon town where everyone knows everyone, “Summer of 84” begins with an unsettling premise: a psychopath is killing teenagers. Davey, a 15-year-old conspiracy enthusiast, suspects his police officer neighbor is the culprit. With summer break leaving him and his friends with little else to do, they decide to track the cop’s every move.

The storyline and several scenes seem directly inspired by “Disturbia” (2007), while the overall style and themes evoke “Stranger Things”, though grounded in a more realistic setting. The film also brings to mind “Super Dark Times”, another story about small-town kids discussing movies and sex, but whose world is suddenly upended by blood, madness, and disintegration. If “Stand By Me” or “Fright Night” come to mind, it’s no coincidence. However, unlike “The Goonies” or “E.T.”, “Summer of 84” isn’t kid-friendly—the confrontation with a psychopath introduces heavier themes and a darker atmosphere. While it echoes Stephen King’s novels, the creators aim for a thriller, not a horror film. They strive to retain the coolness of the ’80s while not shying away from life’s grim realities. Although devoid of originality (the film is a remix of familiar tropes), it derives tension from juxtaposing adult brutality with the innocence of childhood.

The film opens with a monologue from Davey, who observes that people rarely reveal their true selves. His unease with his town’s smooth exterior proves well-founded, but Davey isn’t content with being a reflective observer—he craves excitement. True to his age, he turns even the pursuit of a psychopath into a game. This quest runs parallel to another one, charged with sexual tension, as Davey spies on his attractive neighbor, a former babysitter. The film openly explores the fever of adolescence, steering clear of the sanitized approach of the Duffer Brothers’ series. Without explicit nudity, it emphasizes fantasy and candid discussions among the boys about their desires.

Sex and death are intertwined here, reminiscent of “Blue Velvet“, where the protagonist’s boredom leads him to peek behind the curtain of normalcy. However, the filmmakers avoid the wild extremes of Lynch’s film, merely hinting that small towns aren’t idyllic and that growing up can be a harsh process. Davey’s friends face troubles at home (alcoholism, fights, broken families), and eventually, even they abandon him. Tommy, the young punk who should theoretically reject all societal norms, decides it’s time to step back when their investigation goes too far. Parents provide no support, outright forbidding involvement in the case—even Davey’s journalist father fails to connect the dots. What do you do when help is nowhere to be found, your hormones are raging, and death might be hiding behind a badge? Can a child play a high-stakes game alone until the end? This is a film where people leave, treehouses get destroyed, and teens don’t always act like heroes.

The film’s weightier themes are balanced by lively, humorous dialogues that feel natural for the characters’ age, outlook, and libidos. The atmosphere thickens with tension but is offset by youthful enthusiasm, which tempers the darkness. Interestingly, the retro elements—BMX bikes, walkie-talkies, arcade games, corded phones, and secret magazines—are present but not overwhelming. The ’80s aesthetic is authentic but doesn’t feel overly showy or iconic. In fact, the town’s depiction could just as easily belong to the ’90s, as seen in “Super Dark Times”.

The cinematography leans on tried-and-true techniques reminiscent of Joe Dante, Steven Spielberg, and, in moments of tension, John Carpenter. The soundtrack, composed by Canadian duo Le Matos (who also worked on “Turbo Kid”), blends dark, cool tracks with rhythmic energy, keeping viewers engaged. Their mastery of retro synth music is evident as their score often drives the film’s mood.

The child actors shine, making the group endearing and relatable during this pivotal stage of life. The adult cast provides a solid backdrop, with Rich Sommer standing out as the ambiguous police officer. While not excessively frightening or comedic, the film exudes a retro charm. It doesn’t overindulge in violence but knows when to grip the audience. Despite its polished execution, “Summer of 84” may lack staying power. Unlike the raw energy of “Turbo Kid”, this film feels calculated, a well-executed homage to the ’80s that doesn’t venture far from familiar territory.

The door is open for a sequel. What if it embraced more violence, black humor, and overt horror, evoking films like “Halloween” or “Maniac Cop”? By introducing an archetypal killer who embodies pure evil, a follow-up could elevate the franchise. Then again, if the sequel stuck to this film’s formula, the ’80s visuals and Le Matos’ music might once again prove irresistible.