V/H/S/85

V/H/S/85
Starring Freddy Rodriguez, James Ransone, Jordan Belfi, Chelsey Grant
Directed by David Bruckner, Mike P. Nelson, Gigi Saul Guerrero, Natasha Kermani & Scott Derrickson

The "V/H/S/" franchise is unique in that they're a series of short films that are connected by an overarching narrative that brings them all to a (sorta) cohesive whole. At least that was the original plan, but it seems as the films continue churning out this concept is lost in favor of just a series of short films by both acclaimed and up-and-coming directors that don't have a general theme - and that's perfectly fine. Seeing bite-sized horror from some directors we know and love and others that whet our appetite for something bigger from them, "V/H/S/" allows this freedom to develop. As it is with each film, there's some great shorts and some terrible, and others that fall in-between. Sadly "V/H/S/85" has more terrible and unmemorable ones as opposed to great, leading to one of the weaker outings in the franchise.

The "overarching" film is 2022's "Hellraiser" director David Bruckner's "Total Copy" which centers on a group of researchers investigating a mysterious child who might not be as he seems. The film develops into a decent body horror film with alright effects, but overall it develops so slowly by the end you don't really care what happens. Out of the six films, this is my fifth favorite.

"No Wake" and "Ambrosia" are directed by Mike P. Nelson, best known for directing the "Wrong Turn" remake. "No Wake" centers on a group of teenagers who go to an abandoned summer camp for a day of fun when they're hunted down by an unseen killer. While this may seem like your typical summer slasher film, there's a unique twist that makes it more memorable, even though it ends in a rather unsatisfying way. Third favorite of the group.

"Ambrosia" focuses on a family celebrating a milestone for their fifteen-year-old relative, and instead of celebrating an event like a bat mitzvah or baptism, let's just say they celebrate something rather unorthodox. It's one of the better films in this anthology and if it wasn't as short as it was it could've been one of those you'd remember. Second favorite of the bunch.

"God of Death" is directed by Gigi Saul Guerrero, who directed the horror comedy "Bingo Hell." This short focuses on the real-life earthquake that hit Mexico City in 1985, taking place at a local news station. When a group of rescuers save one of the cameramen, they find themselves descending into the pit of literal hell. This is easily the worst of the bunch, as the film drags at a snail's pace to get to its point, and when it does, you wonder what the point of it was in the first place. Sixth favorite of the six.

Relative newcomer director Natasha Kermani gives what I feel is the best of the bunch with "TKNOGD," which centers on a one-woman stage play as she attacks the concept of robotics becoming a new god, utilizing a new technology to try and summon this mysterious god. Needless to say she manages to awaken it, and it doesn't like being woken up. The visuals are impressive, the message is unique in the fact that it points to the fact that humanity technically killed God in favor of creating their own god in robotics, and will be the short that'll stick with me. Like with "Ambrosia," however, I wish it was a bit longer. Favorite of the six.

Then there's "The Black Phone" and "Sinister" director Scott Derrickson's "DreamKill," which could've been something really special but ended up missing the mark. This short centers around mysterious tapes that show up at a local police station showing different murders before they happen. The mystery surrounding it doesn't make sense, it's the only short that pretty much does away with the smaller aspect ratio aesthetic of the others, and feels disjointed overall. Fourth favorite.


The Summary:
While trying to re-create the 1985 feel, "V/H/S/85" fails to deliver ultimately on the thrills and chills that the other outings delivered, and while it did give some great shorts, most of them fell flat and were unmemorable.

The Score: C