Shelby Oaks is in UK and Irish cinemas now from Altitude Film.
Synopsis
A woman’s desperate search for her long-lost sister falls into obsession upon realising that the imaginary demon from their childhood may have been real.
Review
After a successful Kickstarter campaign and support from the legendary Mike Flanagan, famous YouTuber-turned-film-critic Chris Stuckmann has transitioned to film creator with his first feature film, Shelby Oaks.
The story follows Mia, a woman who gets hold of a tape giving her vital clues about what happened to her younger sister, Riley, who went missing five years prior. Riley was a paranormal investigator with her three friends on their YouTube channel but subsequently vanished during the filming of one of their videos. The film takes a unique route, switching from a found-footage horror documentary style to a standard narrative horror film. This mockumentary/found-footage segment essentially provides all the backstory for the plot to move forward. I think this was jarring to some viewers who were initially caught off guard, but it certainly wasn’t a deal breaker for me.
For a first feature, the film certainly toes the line between low-budget and medium-budget at times, though its use of showing the big evil in the shadows does effectively build tension. Stuckmann demonstrates a keen skill at generating genuinely tense moments, employing effective shadow play and lingering shots to grow the suspense. With a small cast led by Camille Sullivan as Mia, the older sister, and a surprising appearance by the legendary Keith David, there was little to no critique on the actors; they all delivered good performances (although Mia’s husband might be one of the worst husbands in horror movie history!).
Plot-wise, the movie is fine, but I would not say it is special in any real way. It feels a little bit cookie-cutter in its execution, but sometimes that’s a good thing. Shelby Oaks feels like a solid and enjoyable movie experience for those who prioritize tense atmosphere and spectacle over anything really profound.
This limitation prevents the horror elements from achieving deep emotional resonance with the audience. While the immediate experience is entertaining, the narrative is almost too generic and lacking in any real character development. It feels unlikely that Shelby Oaks will remain a must-watch staple for horror fanatics years down the line. It’s a fun popcorn movie, but not one I’d return to next Halloween.
Ultimately, Shelby Oaks is a promising debut feature, with a few creases in its writing that will hopefully be ironed out in Stuckmann’s future films. It functions effectively as a popcorn horror film supported by good visuals; however, its narrative exploration is too superficial to go beyond that. While successful as a ‘thrill ride’ movie experience, its ability to leave a lasting impression post-viewing is questionable. Nevertheless, the film successfully demonstrates Stuckmann’s filmmaking skills and talents.
Verdict
Shelby Oaks may not achieve long-term critical recognition, there is considerable anticipation for his future writing and directing endeavours, particularly when his evident visual talent is combined with refined screenplays. Chris Stuckmann is certainly a talent to keep an eye on.
⭐⭐⭐
