“Shelby Oaks,” the debut horror film from first-time director Chris Stuckmann, takes audiences on a journey that revisits familiar elements of the genre while simultaneously failing to deliver a fresh experience. Stuckmann, known for his YouTube presence as a horror enthusiast, incorporates a plethora of well-known tropes including found footage, ghost towns, and creepy creatures, yet the result is less thrilling and more tedious.
The film begins with a faux documentary style that introduces the unsettling disappearance of Riley Brennan, portrayed by Sarah Durn, a ghost hunter who went missing while exploring the eerie town of Shelby Oaks with her friends, members of a group called the “Paranormal Paranoids.” The unsettling narrative unfolds through interviews and media clips, highlighting the mystery surrounding Riley’s case, which becomes more chilling after her friends are discovered dead.
Determined to find her sister, Mia, played by Camille Sullivan, embarks on a harrowing quest, spurred on by an ominous visitor who presents clues from Riley’s last moments. However, as the film transitions from its documentary style to traditional horror techniques, it struggles to maintain a sense of suspense and originality. Mia’s journey through an abandoned prison, shadowy woods, and an unsettling house feels routine, lacking the intensity that characterizes effective horror.
Despite having esteemed horror figure Mike Flanagan as an executive producer, “Shelby Oaks” lacks the depth and artistry associated with experienced filmmakers. Stuckmann’s homage to classic horror styles often feels forced and unoriginal, as he grapples to find a cohesive narrative. The film’s predictable plot and uninspired resolution leave viewers longing for a more immersive experience, reminiscent of masters like David Cronenberg and John Carpenter, who understood how to leave a lasting impact on audiences.
While “Shelby Oaks” showcases Stuckmann’s passion for the horror genre, it ultimately reinforces the notion that a loving homage to horror classics isn’t enough to create a compelling film. For viewers seeking a breathtaking cinematic experience, this film may fall short, capturing the essence of the genre’s disappointments rather than its triumphs.