Whether you want a job done right, or just done right now, do it yourself. That’s the fearless edict uniting first-time feature filmmaker Chris Stuckmann and his headstrong final girl Mia (Camille Sullivan) in the winding mystery of “Shelby Oaks.” 

An ambitious horror exploration born of the found footage format, which honors genre but rarely attempts to subvert it, this spooky procedural unearths a new kind of cold case for Neon — this one, fittingly acquired on the heels of the viral “Longlegs,” still running away with the box office now in its second week. When four internet ghosthunters known as the Paranormal Paranoids find trouble in an abandoned town, three turn up dead and the last (Sarah Durn) is never discovered. 

“Who took Riley Brennan?” graffiti across the surrounding Ohio area wants to know 12 years later. It’s very Derry and just one of many warm details that make Stuckmann’s universe, smartly but subtly shaped by EP Mike Flanagan, feel closer to a Stephen King joint than a “Paranormal Activity” successor. 

The police and public might be useless here, but Mia won’t give up. She doesn’t know if she believes in ghosts; what she does know is that her sister isn’t a liar. A true crime documentary picks up where the grainy footage recovered from the victims’ camera leaves off — examining the dead investigation through the eyes of a dogged loved one operating outside of a broken system. Something similar could be said of Stuckmann who, as a history-making champion of the Kickstarter campaign (his scrappy feature raised more than $1.3 million online), pulled off a small miracle getting his movie made this way. He’s a YouTube talent himself, known for complex video criticism and a deep love of genre. Using a story by him and his wife Samantha Elizabeth, Stuckmann makes his impressive but imperfect debut backed by a built-in fanbase already appreciative of his film philosophy.

Killers aren’t always afforded the opportunity to explain themselves, and after a movie review goes live, directors even less so. Stuckmann has made a poetic career out of appreciating the magic of production, graciously and methodically considering how a totality of factors impact what ends up on screen. Through his impassioned YouTube channel, which was founded in the very internet hey-day the “Shelby Oaks” opening recalls, Stuckmann has spent years bravely beating back cinematic shit-posting. Instead, he’s repeatedly emphasized his love of all things The Movies — rarely if ever lobbing “bad” criticism at anyone — and his mosaic-like feature reflects that affection back ten-fold. To critique his film then, it seems important and fair to say upfront that its existence is a good thing. As plainly put as a review this early can be (most audiences won’t see “Shelby Oaks” until sometime next year): Chris Stuckmann can indeed make a movie and, all things created equal, he should probably make more movies. That’s even truer if he’s able to keep his admirably pure production pipeline protected from business-minded studios.

Now, the hard part. 

As aggravating in its logic gaps as it is frustrating with its stop-and-go propulsion, this confused debut effort knows what it wants to be (a dryer, more cynical “Lake Mungo” maybe?) — but it isn’t that. There’s tremendous promise in the first twenty minutes, which in a bit of meta commentary has Stuckmann writing dialogue for news anchors who quietly mock viral creators and question whether Riley’s disappearance was somehow still just a hoax. (Shout out, lonelygirl15, long may she vlog!) And yet, much like a first-time marathon runner, the writer/director gets off to a stronger start than he can maintain. After a jaw-dropping opening, a collapse in the tension arrives mid-way through the second act — somewhere between Mia and her husband’s (Brendan Sexton III) second or third fight about vigilante justice and the baby they’re not having — and the suspense never recovers. 

Cops are rarely the answer to, well, anything, but it would do wonders to have absolutely anyone helping Mia get her investigation under control. Alone for most of the movie, Sullivan isn’t given nearly enough scene partners (blink and you’ll miss Keith David) and Mia wastes tons of screentime silently spinning her wheels. “Shelby Oaks” is the kind of movie that will show you montage after montage of old photographs, dream journals, and library documents — allegedly poured over by Mia for more than a decade — and then seriously ask you to join in her surprise when she inexplicably starts to piece together the facts she already had in evidence. 

The scares face diminishing returns too as Mia’s decision-making betrays her as an inconsistent, if not outright dimwitted, hero. Running through nightmarish scenes ranging in genre reference from hixploitaiton to gothic romance, the stunning surroundings photographed by cinematographer Andrew Scott Baird almost cover up for Mia’s baffling lack of intellectual direction. But what real person, pray tell, has their sister go missing for more than a complete Chinese zodiac cycle, only to spur of the moment visit a derelict prison… with an almost dead flashlight… in the middle of the night? The scene is pretty, but she seems like a moron.

It’s those obvious loose ends that allow “Shelby Oaks” to devolve into an unmotivated pursuit of an unremarkable character. The fault doesn’t lie with Sullivan (she does what she can!), but as Mia’s behavior makes less and less sense, her sister’s story grows equally confused. Pops of comedy suggest a self-awareness to some of the script (yes, at least one character will acknowledge that saying the name “Paranormal Paranoids” is orally atrocious) and yet there aren’t enough jokes throughout to classify it as a horror comedy. Toss in some well-intentioned but ill-conceived “Hereditary” inspiration that’s nothing if not gravely serious and for-the-love-of-funniness stops working as a believable excuse.  

That said, it bears repeating, Stuckmann should make movies. “Shelby Oaks” was obviously written by a critic, one with a near-legendary knowledge of the pop culture archives, and it’s directed with a palpable confidence that could lead to better things. Doubling-back to that marathon metaphor, Stuckmann finishes his race only somewhat worse for wear. He manages a beautiful final shot that, no matter what comes before it, is fun as hell and hints at what we’ll no doubt someday learn this freshman filmmaker does best. Easily the smartest journalist-turned-producer working in horror today, Stuckmann is going to be even better when he leaves “Shelby Oaks.”  

Grade: B-

A Neon release, “Shelby Oaks” debuted at Fantasia Fest 2024. It’s expected in theaters next year.

A staff report

Genre: Action/Adventure, Suspense/Thriller
Release Date: Friday, July 19, 2024
Director: Steven Harper
Starring: Edgar-Jones, Powell, Ramos
Rating: ★★★★☆

As storm season sweeps across the silver screen in “Twisters”, director Steven Harper delivers a gripping tale of adrenaline-fueled action set against the tumultuous backdrop of Oklahoma’s tornado alley. With an impressive 80% fresh rating on the Tomatometer, this film promises a thrilling ride for audiences seeking heart-pounding suspense and breathtaking visual effects.

The story centers around Kate Carter (played by Edgar-Jones), a seasoned meteorologist turned cautious researcher in New York City, haunted by a traumatic tornado encounter from her college days. Drawn back into the tempestuous world of storm chasing by her friend Javi (Ramos), Kate finds herself confronting not only the fury of nature but also her own fears.

Enter Tyler Owens (Powell), a charismatic social-media maverick whose daredevil antics and thrill-seeking escapades with his crew make him a viral sensation. Together, Kate, Tyler, and their teams embark on a daring mission to test a revolutionary tracking system amidst unprecedented storm activity.

Harper masterfully intertwines elements of action, adventure, and suspense as the storm season escalates to unprecedented levels of intensity. The visual spectacle is nothing short of breathtaking, with jaw-dropping tornado sequences and high-stakes encounters that keep viewers on the edge of their seats.

The cast delivers compelling performances, with Edgar-Jones portraying Kate’s internal struggle and determination with depth and vulnerability. Powell brings charisma and a hint of recklessness to Tyler, balancing the film’s emotional core with adrenaline-pumping excitement.

Supporting characters, including Javi and Tyler’s crew members, add layers of camaraderie and tension, enhancing the film’s dynamic ensemble. The chemistry between the leads feels genuine, grounding the narrative amidst the chaos of nature’s fury.

While “Twisters” thrills with its action-packed sequences and impressive visual effects, it also explores themes of courage, redemption, and the relentless pursuit of scientific discovery. The storm-chasing backdrop serves not only as a canvas for thrilling set pieces but also as a metaphor for confronting one’s past and embracing the unknown.

In conclusion, “Twisters” (2024) stands out as a must-watch summer blockbuster, blending pulse-pounding excitement with compelling storytelling and standout performances. Whether you’re a fan of disaster epics or simply seeking an exhilarating cinematic experience, buckle up for a ride through the eye of the storm with Kate, Tyler, and their fearless crews.

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“Operation Undead” is an excellent zombie movie, both for the action and horror, but also for its anti-war and historic comments

As we have mentioned before, the zombie genre is one that has been done to death throughout the history of modern cinema. However, a number of filmmakers who still decide to deal with the concept, manage to find new elements to add, in one of the reasons zombies keep going (pun intended). Thai Kongkiat Komesiri is definitely among those. 

The film begins in 1939, during World War II in Chumphon Province, where Mek, a new sergeant, just learns that his girlfriend is pregnant. In the meantime, his younger brother, Mok, is in the Youth Soldier unit, and as war has not yet hit the area, spends his time having fun and shenanigans with his fellow soldiers. Alas, it is at that moment that the Japanese forces approach the area, and the whole population face death and destruction. The Japanese, however, apart from taking over the province for strategic reasons, they have also decided to test a new biological weapon on the locals. The result is a superhuman horde of Thai soldiers that function like zombies, but a number of them still retain their conscience. Not to mention they have a leader. Eventually, Thai and Japanese forces declare a ceasefire to deal with the threat, and Mek receives a special covert mission to clean up the area alongside a Japanese combat unit, unaware that this might include his own brother.

The uniqueness of Kongkiat Komesiri’s approach to the zombie trope is actually multifold. Evidently, the most obvious one is the fact that the zombies still have a brain and can think and feel, while the fact that they are organized under the leadership of a ‘commander’ adds even more to the threat they present to the humans. More impressively though, is the way the filmmakers use zombies to show the dehumanizing nature of war, or even civil war one could say, as this time brother faces brother. Furthermore, the accusation towards the Japanese for the experiments using humans they undertook during the various military expeditions, is also palpable.

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