Whereas the V/H/S series has explored sci-fi horror previously, the seventh entry—this week’s V/H/S/Beyond—places a specific focus on the genre, unspooling a nightmarish array of shut encounters, robotic terrors, and mad scientists. There are just a few large names behind the segments this time round (Justin Lengthy, Kate Siegel, Mike Flanagan), however the standout moments—you recognize, those that make you gasp, scream, or really feel such as you’re gonna puke—are scattered evenly all through.
Not being tied to a particular 12 months means Past doesn’t need to be strict about its degree of know-how; there’s nonetheless shaky-cam and grainy VHS, however we additionally get some digital-age developments: cell telephones, home-security doorbells, a GoPro, YouTube movies, police physique cams, and the like. The body story, Jay Cheel’s “Abduction/Adduction,” is crafted like a “mysteries of the unknown” documentary you may come upon whereas performing some late-night scrolling, full with speaking heads and archival clips anchored round a central thriller involving aliens and (after all) mysterious video tapes.
The opposite segments embrace Jordan Downey’s “Stork,” a couple of rookie cop having a really unusual first night time along with his new unit; Virat Pal’s “Dream Woman,” which follows a paparazzi staff as they uncover greater than anticipated whereas stalking Bollywood’s hottest new star; Justin Martinez’s “Reside and Let Dive,” a cautionary story for would-be skydivers; Christian Lengthy and Justin Lengthy’s “Fur Infants,” about animal-rights activists decided to bust the proprietor of a doggie daycare; and Kate Siegel’s “Stowaway,” written by Mike Flanagan (The Haunting of Hill Home), a couple of troubled lady hoping to DIY her personal UFO doc.
One of many perpetual delights of the V/H/S collection—apart from its copious affection for gore and gross-out particular results—is its conceit that we’re watching probably the most thrilling elements of no matter found-footage tape is subsequent within the queue. There’s not a lot time for context or exposition; after a fast dose of suspense (we all know one thing terrible goes to occur; that is V/H/S, in spite of everything), all hell breaks unfastened. Not often has this set-up been so completely deployed than it’s in “Reside and Let Dive,” which greater than makes good on its killer premise each within the air and on the bottom. “Dream Woman” can also be an interesting entry; not solely is it the primary V/H/S section made in India, it comprises a full-on Bollywood musical quantity, seen from the standpoint of the set-crashing photographers.
It’s not usually that V/H/S motion pictures are singled out for his or her performances—many of the appearing tends to be of the working and screaming selection—however Past has a few notables, together with Alanah Pearce because the awkward filmmaker in “Stowaway,” and particularly Libby Letlow in “Fur Infants,” whose pup-obsessed Becky has uncanny echoes of Annie Wilkes in Distress.
If total V/H/S/Past isn’t fairly the most effective of the franchise—final 12 months’s V/H/S/85 continues to be my prime choose, although V/H/S/2 is a detailed second—it’s total a stable entry, and proof but once more that there’s nonetheless an alarming quantity of inventive vitality to be mined from dirty, grotesque video clips. Carry on the following one!
V/H/S/Past hits Shudder October 4.
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