This horror-mystery about a plucky bunch of young adolescents squaring off against supernatural forces unknown is clearly looking to capitalise on the 80s/90s nostalgia that has made Stranger Things such a palpable hit. The kids ride around on bikes, they play baseball, they convene in a treehouse with a sign that says “KEEP OUT”, and they investigate creepy loners who live by themselves. It takes place in 1997, and details like no one having a mobile phone are accurate as well as useful for the plot.

The representation of the kids themselves is carefully sanitised: no one is smoking cigarettes or dropping sexist, racist or homophobic slang. It’s less of a throwback to the era itself and more like a film that references previous and existing throwbacks. But where Twin Peaks knowingly subverted a vision of smalltown America, there’s no such originality to be found in Monster Summer; it’s a reflection of a reflection of a reflection. There are some decent PG-rated thrills and scares for the preteen audience, but adults are unlikely to find it especially convincing, with clunky dialogue and a generic score letting down a solidly traditional spooky mystery.

One bright spot is young star Mason Thames, also excellent in Ethan Hawke horror The Black Phone. He turns in a soulful performance, even with iffy material; could he evolve into the next Timothée Chalamet or Heath Ledger? However, the adult cast is a reminder of the ups and downs of showbusiness, with Lorraine Bracco (GoodFellas, The Sopranos) in a small role that really is beneath her talents, Kevin James in a bit part as a sceptical local news editor, and Mel Gibson giving his considerable all as a grizzled man with a mysterious past. Gibson is as good as the script will allow him to be, serving as a reminder of how sticky the issue of cancellation can be. Either way, there will always be the Monster Summers of this world, offering roles to those on the way up and way down.

• Monster Summer is on digital platforms from 25 November.