Frightfest 2024: ‘Shelby Oaks’ Review
Stars: Camille Sullivan, Keith David, Michael Beach, Sarah Durn, Brendan Sexton III, Robin Bartlett, Charlie Talbert, Emily Bennett | Written by Chris Stuckmann, Sam Liz | Directed by Chris Stuckmann
Having built a name for himself as a YouTube film critic, Chris Stuckmann made the decision to change lanes and instead become a filmmaker. His feature debut, Shelby Oaks, generated a lot of hype as it became the most funded horror film on Kickstarter, attached horror master Mike Flanagan as an executive producer, and was acquired by Neon for worldwide distribution rights.
The story tells the unsolved case of The Paranormal Paranoids, a once-successful team of paranormal investigators on YouTube who went missing during an investigation. While many believed it was an elaborate hoax, there remains no sign of justice or answers twelve years later. Turning to a documentary crew for help, Mia (Camille Sullivan) remains adamant on discovering what happened to Riley (Sarah Durn), her younger sister who was the lead paranormal investigator. As Mia’s investigation results in uncovering new leads, she believes that something sinister is involved with this vanishing.
As the opening unfolds within a faux-documentary format, before transitioning into a more typical filming style, writer/director Stuckmann crafts an interesting mystery which holds viewers’ attention with ease as it follows the search for answers amidst a personal tragedy. Anchoring the proceedings is a stunning lead performance from Sullivan, who tremendously conveys Mia’s all-consuming desire to find the truth.
Despite the passage of time, Mia still holds onto hope that Riley is still alive and wishes to find her. Less hopeful about that is Robert, Mia’s husband, who feels the strain on the marriage courtesy of this obsession. Brendan Sexton III toes the line very well as the spouse who wishes to help his wife, but does not want false hope to prevent Mia from accepting a saddening possibility after so much time has passed. A special mention is deserved for the ever-reliable Keith David, who delivers exposition with an effortless gravitas that makes the scene feel anything but expository.
Unveiling itself as the runtime moves along, the story takes many creepy directions which deserve to be experienced without being spoilt. What can be said is that, when the revelations make themselves known, a shift can be felt as the grip Stuckmann’s film held loosens due to the less satisfying routes unfortunately taken. One wishes that the last act could hold more scares, and it is distracting how certain visual effects need refining. Despite these issues, Shelby Oaks is a solid first feature which shows promise in Stuckmann’s filmmaking career.
***½ 3.5/5
Shelby Oaks screened as part of this year’s London Frightfest.
