V/H/S/94
V/H/S/94
Starring Kimmy Choi, Nicolette Pearse, Thomas Mitchell, Dru Viergever
Directed by Jennifer Reeder, Chloe Okuno, Simon Barrett, Timo Tjahianto, Ryan Prows
Starring Kimmy Choi, Nicolette Pearse, Thomas Mitchell, Dru Viergever
Directed by Jennifer Reeder, Chloe Okuno, Simon Barrett, Timo Tjahianto, Ryan Prows
More often than not, the found footage horror subgenre has been met with more groans than gory glee, due to its ability to produce something far cheaper than a big studio production has everyone and their mother bringing forth films where shaky camerawork tries to tell a story. Yet there are some that work, and the "V/H/S" franchise more often than not hits the mark (not mentioning the "V/H/S: Viral" mess). The concept for the series is simple - four smaller films shot on V/H/S format that are all tied together with a narrative that interconnects these seemingly untied stories together. It's been a few years since a "V/H/S" film hit the screens, but the pandemic was a great time to re-vitalize the franchise: by focusing on smaller stories, less actors, and good old-fashioned practical effects over CGI, "V/H/S/94" managed to re-capture the love and brilliance of the franchise in all its gory goodness.
The entire film is centered around a SWAT team who's sent to investigate a compound after a girl is found with a gooey substance on her hands after she dies. While investigating the compound, they come across multiple rooms with dead people who've gouged out their eyes, and static on the televisions. As the team splits up, a voice is heard on the speakers and some of the televisions start broadcasting certain videos.
This segment, known as "Holy Hell," is the framework that brings the entire film together, and is a great way to introduce the different films that lie within. It's filled with atmospheric dread as the SWAT team moves from room to room in the seemingly unending maze of darkness and death, with no clue how it'll all pan out.
The first segment is called "Storm Drain," and centers around a newscaster sent to investigate a local legend called the Rat Man - a job she doesn't really want to do, and is more interested in projects that could earn her a Pulitzer. Together with her cameraman they enter the subterranean sewers underneath and come across something that could change their lives forever. This film was written and directed by newcomer Chloe Okuno, and is a great flashback to classic creature features of the 90s as she uses practical effects to create her creature and it really has the feel of something that was shot back in 1994. The story is engaging, terrifying, and a perfect start to this newest "V/H/S" outing.
The second segment is called "The Empty Wake," and focuses on a young mortician tasked with holding a wake for a man who recently died in the middle of a severe thunderstorm. With cameras all around the viewing room, things start to turn freaky as the coffin seemingly moves on its own, she hears knocks inside, and the storm knocks out the power. Written and directed by "V/H/S" mainstay Simon Barrett, this is my favorite of the shorts with its moody atmosphere, endless sense of dread, and fantastic use of light and dark that makes for a truly terrifying experience.
The third segment is called "The Subject" and is easily the most ambitious of the shorts, all the while maintaining its own unique tale. A mad scientist has been kidnapping people in hopes of turning them into a perfect blend of human and machine, and when he finally succeeds, all literal hell breaks loose. Directed by famed director Timo Tjahianto, "The Subject" blends body horror with first-person video game shooter in equal measure, and the creatures he concocts are truly nightmare fuel - while also serving as a modern form of Frankenstein's monster.
The final film is called "Terror" written and directed by Ryan Prows, and tells the story of a Michigan militia hell bent on toppling the evil that's infiltrated America and make America great again (paraphrasing). Yet when they start to hatch their plan, a drunken night soon escalates into all out holy war. The less said about this segment the better, otherwise it'll give away major plot points, but for me - it was the weakest of the bunch. It dragged on a bit too long, the characters were annoying, but at least the ending was very satisfactory. Still, it probably hits too close to home for some who understand that such militias exist in America and at any moment they could unleash their own brand of "justice" - and that's truly terrifying.
Returning to the roots that made "V/H/S" such an endearing anthology series, "V/H/S/94" uses the limitations of the pandemic to their full advantage, offering a new crop of terrifying tales bite-sized and ready to enjoy for the macabre masses.
The Score: A
The entire film is centered around a SWAT team who's sent to investigate a compound after a girl is found with a gooey substance on her hands after she dies. While investigating the compound, they come across multiple rooms with dead people who've gouged out their eyes, and static on the televisions. As the team splits up, a voice is heard on the speakers and some of the televisions start broadcasting certain videos.
This segment, known as "Holy Hell," is the framework that brings the entire film together, and is a great way to introduce the different films that lie within. It's filled with atmospheric dread as the SWAT team moves from room to room in the seemingly unending maze of darkness and death, with no clue how it'll all pan out.
The first segment is called "Storm Drain," and centers around a newscaster sent to investigate a local legend called the Rat Man - a job she doesn't really want to do, and is more interested in projects that could earn her a Pulitzer. Together with her cameraman they enter the subterranean sewers underneath and come across something that could change their lives forever. This film was written and directed by newcomer Chloe Okuno, and is a great flashback to classic creature features of the 90s as she uses practical effects to create her creature and it really has the feel of something that was shot back in 1994. The story is engaging, terrifying, and a perfect start to this newest "V/H/S" outing.
The second segment is called "The Empty Wake," and focuses on a young mortician tasked with holding a wake for a man who recently died in the middle of a severe thunderstorm. With cameras all around the viewing room, things start to turn freaky as the coffin seemingly moves on its own, she hears knocks inside, and the storm knocks out the power. Written and directed by "V/H/S" mainstay Simon Barrett, this is my favorite of the shorts with its moody atmosphere, endless sense of dread, and fantastic use of light and dark that makes for a truly terrifying experience.
The third segment is called "The Subject" and is easily the most ambitious of the shorts, all the while maintaining its own unique tale. A mad scientist has been kidnapping people in hopes of turning them into a perfect blend of human and machine, and when he finally succeeds, all literal hell breaks loose. Directed by famed director Timo Tjahianto, "The Subject" blends body horror with first-person video game shooter in equal measure, and the creatures he concocts are truly nightmare fuel - while also serving as a modern form of Frankenstein's monster.
The final film is called "Terror" written and directed by Ryan Prows, and tells the story of a Michigan militia hell bent on toppling the evil that's infiltrated America and make America great again (paraphrasing). Yet when they start to hatch their plan, a drunken night soon escalates into all out holy war. The less said about this segment the better, otherwise it'll give away major plot points, but for me - it was the weakest of the bunch. It dragged on a bit too long, the characters were annoying, but at least the ending was very satisfactory. Still, it probably hits too close to home for some who understand that such militias exist in America and at any moment they could unleash their own brand of "justice" - and that's truly terrifying.
Returning to the roots that made "V/H/S" such an endearing anthology series, "V/H/S/94" uses the limitations of the pandemic to their full advantage, offering a new crop of terrifying tales bite-sized and ready to enjoy for the macabre masses.
The Score: A
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