Reviews
Shelby Oaks
‘You Got Stuckmannized’ was all I could think of as the end-credits of Shelby Oaks roll, a film advertised as Blair Witch meets Hereditary with a touch of Barbarian but with a unique angle of its own. In this 90 minute feature, Chris Stuckmann proves that YouTubers like him can go toe to toe with Hollywood elites when finally getting the opportunities they seek. This longtime social-media film-critic turned filmmaker delivers an impressive first feature, a far cry from the slop churned out by major studios with their tired profit-over-quality ethos.
The story is established quickly through the mockumentary opening; paranormal investigator Riley (Sarah Durn) joins her YouTube team, the Paranormal Paranoids, in the abandoned, eerie town of Shelby Oaks, Ohio. They all mysteriously disappear amid a height of social media hysteria about a potential hoax that’s deliberately unclear. Years pass and the case remains unsolved, with Riley’s older sister Mia (Camille Sullivan) the only one still searching for answers, until she is presented with new clues of a paranormal nature that could lead her to Riley through found footage tapes.
At this point, Shelby Oaks settles into a more traditional paranormal film, checking off several of the familiar genre tropes we have come to expect, which does feel a bit disappointing. Still, it is clear that Stuckmann put great care into the writing, guiding us through the twists and turns of Mia’s search. There are moments so tense I found myself watching through my fingers, my heart pounding with anxiety. Without venturing into spoiler territory, the film builds towards a thrilling climax that, although it did not land quite as strongly as the rest of the story for me, will undoubtedly satisfy many viewers. It provides one of the more chilling endings I have seen in a horror film this year. By the end, I was left wanting more, which can only be a good thing.
Produced by horror wunderkind Mike Flanagan and featuring genre legend Keith David, the best element of Shelby Oaks is unquestionably the scares, which for any horror film is perhaps the highest praise it can earn.They are expertly crafted throughout, and when they arrive, they are genuinely petrifying. More than once I wanted to pause the film just to take a breath as Mia made her way through some of the creepiest settings of the year. Another standout feature is the sound design, which is impeccable from start to finish. The scares would not be nearly as effective without the precision and creativity of the audio work, something sound lead Henri Rapp should be incredibly proud of. The cinematography is equally strong, with eerie environments beautifully realised and several scenes that invite the audience to scan the frame for whatever evil might be lurking just out of sight.
Stuckmann has a genuine love for horror, and audiences can easily spot where his inspirations come from, several of which align with some of my own favourites; the film is part found-footage, part mockumentary, and part traditional narrative. The shifts between these styles will not be for everyone, and I would not be surprised to see some describe it as jarring. It has, after all, been marketed heavily as a found footage film more than anything else. For me, though, despite the relatively short runtime, Stuckmann balances each approach with care, giving every element its own moment to shine. Any film, no matter how strong the script or direction, relies on its performances, and for much of this one the weight falls on Camille Sullivan, who more than rises to the challenge. Without a performance of this quality, it would be easy for viewers to detach themselves from the story, but her fear feels authentic and utterly convincing.
While Chris Stuckmann’s Shelby Oaks does not reinvent the genre, it delivers on everything a horror film should, which has become far too rare in recent years. On this showing, Hollywood should be quaking in its boots, as Stuckmann may well be the first of many mainstream creators from social media to step up and make a genuine impact. When you check out Shelby Oaks in cinemas, and you absolutely should, be prepared to be Stuckmannized.