Watchlist of movies that only you and your best friends might appreciate.
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When a group of misfits is hired by an unknown third party to burglarize a desolate house and acquire a rare VHS tape, they discover more found footage than they bargained for.
V/H/S blends one of the newer fads in horror - the shaky found footage movie - with one of the oldest - the portmanteau anthology. It is an interesting blend, on paper at least, allowing the hottest new indie directors to flex their creative muscles in shorter form films whilst tackling a range of horror sub-genres. Unfortunately the results are far less interesting than the film’s potential. Rather than utilising the strengths of the portmanteau structure - allowing for wildly different stories with great hooks and twists - it merely accentuates the problem with the current trend of found footage stories.
Although the film works its way through most sub-genres of horror (vampires, stalkers etc.) all the self-contained stories are…
This review may contain spoilers. I can handle the truth.
There is always one thing that makes or breaks a horror anthology for me, and for some people it's probably the most dismissive aspect but to me; the most important. I like to have a decent wraparound story, it doesn't matter if it's tongue-in-cheek and "hosted" with a ghoul presenting each story, a realtor showing houses, a witch in her kitchen or an ominous meeting in the heart of a cemetery, it's the bow on the package. V/H/S managed to present a couple decent segments (despite being found-footage) and had an interesting concept but I really hated the wraparound story. Besides being both confusing and unpleasant, it was unsatisfying. I would have rather seen the punks from the start have…
So basically every story in this anthology plays out in the exact same way:
-Introduction of characters
- A bit of walking around
- Some groovy camera angles to enhance the found footage feel
- The teeniest tiniest bit of suspense
- Some yummie and scrumptious gore
All in all there were two stories I really liked, the third one because it is rather insane and the fourth one because it is actually creepy and weird. The rest is instantly forgettabe.
Usually in anthologies there is a common theme or connecting thread. The only one I could find here is that apparently everyone involved bought crappy cameras and suffered from Parkinson's disease.
I could not believe just how boring this film is. It does not even attempt to be the least bit scary, just gory. I wouldn't even call this torture porn because at least Saw and Hostel attempted to scare you. And when are these found footage movies going to die out.
VHS is everything I hate about modern horror films. Character building is replaced by shallow jump-scares, tension is replaced by boredom, shaky-cam is used to up the fear when in reality it serves to obscure and distract the viewer from the action. I am certainly no horror expert, but at least films like Psycho 2 and Scream 4 attempt to tell a cohesive narrative. VHS thinks that it is enough to just to have a shock nonsensical ending to superficial bite-size anthology segments. Ambiguity and surrealism is not, by itself, enough to make for an interesting story. Unfortunately, VHS is a blood-soaked CGI gore-fest that you will forget immediately after viewing - well I did at least. I also find…
There is a fundamental untidiness which impedes V/H/S; heavily and irritatingly mitigating any piquancy. Granted, it's inherently destined to be disconnected but this shouldn't culminate in a film with erratic levels of finesse and intrigue. However it ultimately does; subsequently equaling a cumbersome product that fitfully capitalizes on its theoretically inspired concept.
Except for the inclusion of found-footage, V/H/S's conceit is unorthodox and therefore immediately deserves praise for not lining up behind many foregoing 'horror' flicks. Strenuously attempting to link an anthology of short horror films to one overarching narrative, the handling may be visibly contrived but still makes for a fascinating and fruitful premise.
To quickly summarise my thoughts on each individual short: the first story is okay, the…
There's a really narrow range of ideas in this six-film found footage horror anthology, with two haunted houses, three groups of young men out on the rampage, and a disturbingly high number of instances of nude or semi-naked women being filmed against their will. That said, haunted houses and found footage make good bedfellows, and so Radio Silence's closing entry, 10/31/98, in which three rampaging young men find themselves at the wrong Halloween party, is the clear highlight, full of inventive special effects and a real sense of mayhem. Everything else is weak at best. There's one decent performance in the whole movie, happily coupled with a quite original idea, as Hannah Fierman gives new meaning to the term "sex…
Wie bei jedem Episodenfilm schwankt auch hier die Qualität teils stark. Trotzdem finde ich die Idee interessant und die Umsetzung zumindest in Ordnung.
A multiple-director indie-horror omnibus movie, with the segments linked by a found-footage theme and a linking story about a house filled with scary homemade videocassettes. Uneven, but the gimmick helps hold it together in a way that's fun, especially for us horror fans with short attention spans. The most intense story is the first, directed by David Bruckner, who also made the first, and best, of the three segments of the multi-director horror movie THE SIGNAL. (Bruckner's contribution, and a number of the other segments, involve men grossly mistreating women. I'm not saying the movie is misogynistic--the misogynists are clearly the bad guys. It's mainly notable because the accumulated volume of frat-boy loutishness can get a little tiresome to watch.)
The sequel should've been called DVD.
...a collection of hit-and-miss horror segments. It has flaws and implausibilities but the creativity is there. It was scary in an ingenious and deeper level: the kind that when you watch it, it's not overwhelming but as you think of it, it grows on you. That enough deserved some credit at least. The shaky-cam however was thoroughly annoying.
The segments in this anthology are all over the map in quality. The best one, "The Sick Thing That Happened to Emily When She Was Younger," scares on a few different levels -- first as an atmospheric haunted house picture, then with an unexplained sci-fi angle that speaks more than explicit exposition could. The others, including the disappointing "Tape 56" framing device (directed by The Guest's Adam Wingard, who I've loved through the two features I've seen), are mediocre at best and rarely rate more than a half jump scare. They have clever setups and some have clever payoffs, but the aesthetic doesn't quite service each story being told. It's a nifty experiment and one I've been told gets improved upon in the second installment of the series.
100 Minuten pure seelische Folter ohne Daseinsberechtigung,
15 Minuten, die tatsächlich Inhalt bieten,
einen viel zu langen Abspann,
und das belangloseste Zusatzmaterial in der Geschichte der Blu-Ray
Ergebnis: Viel Geld und zwei Fortsetzungen
I was planning on giving short reviews to each of the short films in V/H/S, but I don't want to waste too much time on this. I'll just do so for, what I believe to be, the best and worst of the bunch. The rest range from boring to crap.
AMATEUR NIGHT directed by David Brukner
It's not even close: this is the best.
The creature design and effects were fan-freakin-tastic but were not even that necessary, as the actress portraying the creature was creepy all on her own; and that is not a knock on the effects, but praise for whoever cast her. Combining the two, results in an unsettling experience for the viewer.
I should also give praise…
The 2016 (2nd) edition of the list. You can see the original and more info here.
With a list of…