Shelby Oaks Review: Chris Stuckmann’s First Effort is a Lackluster Horror Compilation

      Note: This review was initially published as part of our coverage for Fantasia 2024. Shelby Oaks is set to debut in theaters on October 24.

      There has been some mystery surrounding Shelby Oaks, the directorial debut of Chris Stuckmann. Once a YouTuber who gained fame by reviewing films and now boasts over two million subscribers, Stuckmann aspired to become a full-fledged filmmaker. He secured producers' support and successfully raised nearly $1.4 million through crowdfunding to finance his project. After completing Shelby Oaks, he enlisted Mike Flanagan (Oculus, The Haunting of Hill House) as an executive producer, premiered the film at the Fantasia Film Festival, and attracted NEON to distribute it widely in theaters. While he isn't the first to transition from YouTube to the big screen—Danny and Michael Philippou's breakout success with Talk to Me serves as another example—Stuckmann's path to feature filmmaking appears exceptionally favorable for a debut director.

      Regarding the film itself: despite the air of mystery surrounding it (including Stuckmann and the marketing team attempting to keep certain details under wraps), the truth is that Shelby Oaks lacks substantial content. Beginning with a mix of mockumentary and found footage, Stuckmann crafts a narrative that showcases his familiarity with horror films rather than a deep understanding of the genre. With numerous references and inspirations—primarily from 2000s horror—Shelby Oaks ends up being a tedious, uninspired blend that is overly directed and devoid of genuine scares.

      The mockumentary follows the story of Riley Brennan (Sarah Durn), host of the YouTube channel The Paranormal Paranoids, where she and her three friends documented their excursions to haunted sites. The series was popular until all four disappeared in the late 2000s while filming in the deserted town of Shelby Oaks, Ohio. Except for Riley, the others were found murdered, leaving behind a tape that hints Riley may have been abducted or killed by an unknown man. Riley's sister Mia (Camille Sullivan) is convinced she is still alive, and the film picks up 12 years after her disappearance, with the investigation gone cold and Mia continuing the search. Soon after filming the mockumentary begins, Mia receives a shocking second tape that police never discovered, convincing her of possible sinister circumstances surrounding Riley’s disappearance.

      Stuckmann cites the 2008 horror film Lake Mungo as a significant inspiration, and the mock-documentary format signals this influence until he veers off in ways that indicate he is not interested in merely replicating it. However, any initial excitement from his divergence fades as he resorts to other familiar tropes. Films such as Session 9, The Ring, The Blair Witch Project, Sinister, Hereditary, and Midsommar come to mind, suggesting that Stuckmann borrows elements from each to create his unique mix. The issue is that these components fail to coalesce into anything satisfying.

      Part of the problem stems from aspects beyond the obvious influences, including subpar writing and inconsistent direction. The scenes featuring Mia and her husband Robert (Brendan Sexton III) attempt to illustrate their troubled relationship through melodramatic conflicts that reveal Mia's reluctance to start a family. Sullivan's performance as Mia fluctuates considerably from scene to scene, ranging from confident to awkward, reflecting the quality of direction and writing more than her acting skills. Moreover, much of the exposition in the first act serves as contrived justifications for Mia's later illogical decisions, such as her repeated ventures into deserted areas alone at night or her refusal to involve the police or the documentary crew. These lapses in logic are hard to overlook and even more challenging to accept.

      The horror elements similarly suffer from these flaws. Although the visuals by DP Andrew Scott Baird are surprisingly stylish given the budget, their overt nature detracts from the viewer's experience, failing to create a sense of dread or anticipation; a sequence of Mia's research in a library features erratic camera movements while she mainly sits and reads. In another scene, a dramatic camera push-in on Mia’s car keys as she picks them up feels reminiscent of Edgar Wright's comedic montages in Shaun of the Dead and Hot Fuzz instead of establishing any genuine momentum. When Stuckmann attempts to execute major scares, it amounts to little more than a stationary camera waiting for a jump scare.

      At the very least, Stuckmann's sincerity as a horror fan is evident throughout Shelby Oaks, even if his enthusiasm does not effectively translate into his filmmaking. He has a sizable, supportive fanbase eager to view his work, along with notable names willing to provide him with a level of exposure beyond his online following. While the film has significant flaws, it is unlikely his support will diminish afterward. Many aspiring filmmakers struggle to get a feature made; now that Stuckmann has overcome this challenge, he should have fewer obstacles in creating another project. Hopefully