As a horror enthusiast with over two decades of binge-watching under my belt, I must say that “V/H/S/Beyond” is a delightful addition to the found-footage horror genre. The short film “Fur Babies,” co-directed by Christian Long and Justin Long, was an unexpected gem, reminiscent of Kevin Smith’s “Tusk” in its comically grotesque body horrors. Kate Siegel’s directorial debut, “Stowaway,” stands out for its unique style and substance, with Australian video gamer Alanah Pearce delivering a haunting performance that will linger long after the credits roll.
For over a decade, since the initial launch of its blockbuster movie, the V/H/S series has produced six sequels, two offshoots, and an overlooked miniseries (available solely on Snapchat). After the 2020 release of V/H/S/85, the latest addition to the found-footage horror saga is titled V/H/S/Beyond. This new installment showcases a group of segments centered around extraterrestrials and boasts some of the franchise’s most impressive and grisly special effects yet.
In the film V/H/S/Beyond, each separate segment is interspersed with discussions led by professionals, such as a seasoned alien believer and researcher, as well as a group of YouTube personalities who focus on visual effects. This dual perspective, while thoughtful, might seem unnecessary in a horror anthology like Beyond, whose main objective is to deliver maximum fright and suspense, which it frequently accomplishes.
Beyond Begins with 3 Quick & Fun Face-Melting Entries
Stork
Apart from the fifth (and arguably outstanding) part, every brief section rapidly descends into gruesome turmoil, beginning with “Stork.” This production, directed by Jordan Downey and inspired by a sequence of works by graphic artist Oleg Vdovenko (who participated in the segment), is primarily portrayed as bodycam footage recorded during a police raid on an ancient residence. At first, it resembles a disappointing first-person shooter game like “House of the Dead,” but “Stork” becomes increasingly engaging – and more similar to “Resident Evil” – as the officers advance towards the attic, where they uncover an indescribable terror.
Dream Girl
The storyline proceeds with “Dream Girl,” focusing on two determined paparazzi seeking exclusive shots of Tara, Bollywood’s hottest newcomer, during the production of her horror movie – complete with an entertaining musical sequence. Before long, they uncover a thrilling revelation about Tara in a high-octane segment that touches upon the emerging issue of AI in filmmaking and culminates in a chaotic finale.
Live and Let Dive
Justin Martinez’s “Live and Let Dive” escalates everyday apprehensions about skydiving into extreme levels, offering chilling additional reasons for viewers to shy away from leaping from airplanes. The piece begins in the skies with a convincingly portrayed UFO encounter that sets a tense tone before descending brutally towards the ground below, where each subsequent event surpasses the last in its disturbing nature. By the time we reach V/H/S/Beyond, we’ve seen three segments in a row: all are captivating and well-timed, and the creature designs are remarkable – not to mention, an incredible number of faces have been torn or melted off.
A Furry Detour Before Kate Siegel’s Excellent Finale
Fur Babies
Going a little off-track, “Beyond” ventures momentarily into Bonkersville with “Fur Babies,” a film jointly directed by Christian Long and his brother, actor Justin Long. The participation of the latter becomes clear after watching “Fur Babies,” a story that revolves around a band of animal activists who sneak into a doggy daycare to uncover the true activities of its owner, Becky, concerning her furry charges.
If you’ve watched Kevin Smith’s movie called “Tusk“, you’ll notice similar themes and its humorously disturbing body transformations in this segment. Although it’s comparatively shorter, it still manages to be more entertaining than Smith’s film. The special effects are particularly appealing in their revolting nature. However, “Fur Babies” seems out of place amidst a collection of stories about extraterrestrials.
Stowaway
It’s fortunate that Kate Siegel skillfully wraps up her directorial debut, “Stowaway,” with a strong finish. Alanah Pearce, previously an Australian video game enthusiast and journalist, takes the lead as a woman driven by her fascination with UFOs, embarking on a trek into the desert to gather evidence of alien existence. Co-written by Siegel and her longtime collaborator (and spouse) Mike Flanagan, it’s somewhat expected yet intriguing that the story’s conclusion echoes Stephen King’s most petrifying short tale, “The Jaunt.
In a standout fashion, Siegel’s segment distinguishes itself by combining unique style and substantial content. It effectively utilizes clever editing and Pearce’s captivating, naturalistic acting to impart essential details. On screen, Pearce is mesmerizing, delivering an eerie performance that leaves a lasting impression as the credits conclude.
A Good V/H/S Entry with a Weak Wraparound
In the connecting part of the movie V/H/S/Beyond, not just serving as a break between episodes, there’s a pair of videotapes owned by a man who inexplicably vanished. Each episode is suggested to be evidence of an alien encounter, building up to the content on those tapes. Similar to many horror anthologies, the connecting segment is considered the least compelling aspect. However, when we eventually view the footage from these tapes, complete with the expected extraterrestrial examination, the visuals fall short, particularly given that it’s meant to be a climactic ending.
The movie titled “V/H/S/Beyond” is a fun new installment in the series and should appeal to those eager to watch an engaging found-footage horror film with stunning visual effects. It may not revolutionize the genre, but it certainly offers some clever jokes and creative concepts that make it stand out from typical horror anthologies. The premiere of V/H/S/Beyond is scheduled for October 4, 2024.
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2024-09-23 02:03