‘V/H/S/Beyond’ Review: Found-Footage Franchise Takes a Tentative Step Toward Sci-Fi

As an old-time movie enthusiast who has witnessed the evolution of horror and sci-fi genres over the decades, I must say that “V/H/S/Beyond” is a bit of a letdown. While it continues to serve as a platform for emerging talents in the genre, this seventh installment lacks the freshness and originality that once made the series stand out.

The seventh installment of the “V/H/S” series, titled “V/H/S/Beyond,” infuses horror with sci-fi elements, much like other franchises have done temporarily. This film will likely continue to attract viewers on Shudder, where it starts streaming on October 4th. The collection as a whole remains valuable for showcasing emerging talents in the genre. However, despite its fresh thematic twist, the five segments in “V/H/S/Beyond” seem repetitive in concepts and forgettable in execution. It’s a mediocre contribution to an anthology brand that has shown both creativity and inconsistency throughout its previous installments.

The wraparound device, led by Canadian documentarian Jay Cheel, combines interviews with genuine UFO believers and doubters, while incorporating notable instances of reported abductions in history and snippets from well-known portrayals (including the classic drive-in movie “Earth vs. the Flying Saucers”). Additionally, there’s a fictional aspect to the narrative as it explores a man’s vanishing act from his household, leaving behind VHS tapes that appear to depict an “alien encounter” which is revealed at the end of the film.

The initial three sequence stories share a similarity: they all swiftly escalate into intense, violent action that is often muddled by the chaotic camerawork typical of the found-footage genre. In “Stork” by Jordan Downey, a team of police enter a rundown house amidst widespread baby abductions. Before locating their target, they have to fight off adults who resemble fast-moving zombies. In “Dream Girl” by Virit Pal, two photographers (Syandeep Sengupta and Rohan Joshi) secretly enter a Mumbai film set, then into the trailer of “star Tara” (Namrata Sheth) to take candid shots. However, they uncover more than expected, triggering another bloody confrontation. In “Live and Let Dive” by Justin Martinez, reluctant Zach (Bobby Slaski) is forced to go skydiving with friends for his 30th birthday celebration. Tragically, their plane collides with an alien spacecraft, followed by government aircraft. The survivors then encounter fresh dangers after crash-landing in an orchard below.

Each one seems slightly improved over the previous, yet they all share a similar feel, taking place in various settings but essentially offering the same mix of initial tension, followed by chaos and monstrous elements. The unique elements, such as the surreal finale in “Stork’s” attic scene, the Bollywood number in “Girl”, or the disturbing creature design in “Dive”, only partially manage to lessen this sense of repetition.

In a change from the usual tone, the comedy series “Fur Babies” by Christian and Justin Long features a less serious approach. However, this lighter episode is considered the weakest in the collection. Libby Letlow portrays the annoyingly cheerful owner of “Doggy Dreamhouse,” a dog kennel that some animal welfare advocates believe is abusive. Undercover investigators from these groups sneak in to observe her, but they discover that her harshest treatment isn’t directed at the dogs, but rather her human clients. Despite its initial lean towards slapstick humor reminiscent of “The Island of Dr. Moreau,” the intended satire of both overindulgent pet owners and extreme animal rights activists is too exaggerated.

Ultimately, it’s Kate Siegel, an actor, who is working alongside her partner Mike Flanagan again, this time with Kate taking the director’s chair for the first time while Mike handles the writing. Previously, they jointly penned the script for the excellent 2016 film “Hush,” where she played a key role. Their latest project, titled “Stowaway,” has certainly built up anticipation. In it, Alanah Pearce plays Halley, a woman conducting interviews with locals near the Mohave Desert, a well-known UFO hotspot. It’s unclear whether her intentions are genuine or if she’s secretly mocking them.

Flanagan’s “V/H/S” segment presents a hint of character depth for our protagonist by suggesting she reached this remote location and assignment due to burning all her bridges in the past. Spending a night, she explores distant, odd lights, eventually entering what appears to be an alien spacecraft. However, the events that transpire within are so vaguely portrayed (in stark contrast to the overly clear bodycam footage in “Stork”) that the segment seems to drift into vague mystery. This segment is both intriguing and frustrating, fitting within the realm of the eerie suspense found in “Skinamarink,” but it demands patience without providing a conclusive enough payoff to fully justify the effort.

As a die-hard movie enthusiast, I must admit that the found-footage style can become tiresome quite quickly, and unfortunately, “Beyond” veers towards an excessive amount of chaotic chase/attack sequences that seem to blend together due to their shaky cams and incomprehensible action. The adrenaline is pumping… but too much adrenaline can lead to monotony as well. Actors running around yelling aren’t particularly compelling (or realistic, given they are supposedly filming themselves) unless there’s enough background for character development, a sense of foreboding, or an engaging storyline. Although the individual ideas in this film are serviceable (and some are even loosely connected to the UFO theme), most of them tend towards similar bloodbath scenes. This could suggest that future installments of “V/H/S” might benefit from a renewed focus on creative writing instead of just offering various excuses for gory violence.

In other words, this competent yet largely forgettable production boasts its most striking aspects in the special effects department. Although their work is occasionally fleeting, Patrick Magee and Justin Martinez, who are both credited for the entire film, deliver some vividly disturbing, grotesque visuals.

2024-10-04 23:47

‘V/H/S/Beyond’ Review: Found-Footage Franchise Takes a Tentative Step Toward Sci-Fi

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