SHELBY OAKS
***
Directed by Chris Stuckmann.
Starring Camille Sullivan, Sarah Durn, Brendan Sexton III.
Horror, US, 99 minutes, Certificate TBC
Reviewed as part of Pigeon Shrine FrightFest 2024
Chris Stuckmann’s move from YouTube film critic/analyst to writer and director seems to have come under a certain kind of scrutiny since the announcement of his debut feature SHELBY OAKS and its record breaking crowd funding, nearly raising twice the intended budget. With the likes of Mike Flanagan singing its praises and lending his name to the credits, the hype has been quietly building, all while exact plot details are kept, seemingly purposefully, in the dark. Holding back on such details just piques an audience's interest even more, giving the film a certain kind of mystique that is catnip to horror audiences who are constantly on the search for the next big scare. So, does SHELBY OAKS break new ground in terror and fear?
No. It is a mystery to see just what it is that has captured the attention of so many when it comes to this particular film. It certainly sets itself up nicely and in promising fashion with its look at the chilling case of The Paranormal Paranoids, a young group of ghost chasers documenting their adventures on YouTube. Their sudden disappearance years before has encouraged a years-long feverish mix of theories and conspiracies. At first appearances it seems that Stuckmann is adopting a multi-media approach to his storytelling, deftly mixing news reports and social media to neat effect filling in the plot, characters and background. The film then settles onto far more conventional grounds, both visually and narratively, when we meet Mia, the sister of Riley, one of the missing Paranoids. With interest in the case waning, Mia takes matters into her own hands, only to discover something far more horrifying than she ever could have imagined.
This is a film of two pieces, one being far more interesting than the other. Those early stages recall LAKE MUNGO, that low key classic that used a multi-media narrative to excellent effect. It seems that Stuckmann is mixing up a brew of online hysteria. In particular the online sleuth element which has popped up over the past few years around a number of true-crime podcasts and investigative documentaries and how the truth can be distorted and obscured in so many ways, be it digitally or through some online echo chamber. Stuckmann displays a sure and confident hand here, especially with the found footage elements where clues are planted skilfully and in a chilling fashion that displays an expert understanding of this particular medium and how to utilise it. Also of note is how Stuckmann conveys mood and atmosphere making the titular small town an evocative ground zero of sinister activity that also comments on the decay of small town America in the 21st century.
When the film shifts into its second phase with Mia undertaking the search for her sister, the film becomes far more pedestrian and less interesting as a result. Camille Sullivan delivers a competent enough performance whilst struggling with her underwritten character Mia, who despite their familial motivation and strained home life, fails to rise above the level of stock horror movie protagonist. However, there is still much to enjoy here. Keith David makes a welcome cameo, delivering exposition in fine style while Stuckmann also delivers a nicely staged extended setpiece making fine use of the old cabin in the woods cliche to skin crawling effect. Also worth applauding is that Stuckmann isn’t afraid to shy away from the darker aspects of his story resulting in a nicely nasty conclusion.
While it may not be “the next big thing” in horror, SHELBY OAKS is nevertheless entertaining and engrossing. That Stuckmann has accomplished what he has, and on such a low budget, should be commended and there is plenty on display here that suggests he is capable of something far more accomplished in the future. For now though, SHELBY OAKS is just a pit stop on the road to somewhere far more promising for the director and his already devoted following.
Iain MacLeod
