This review contains spoilers for “V/H/S/85.”
After the less-than-stellar reception to “V/H/S/99” last year, the beloved anthology found footage horror franchise returns. “V/H/S/85” pulls no punches and proves to be a solid bounce back from last year’s underwhelming romp. Every segment in “V/H/S/85” offers audiences consistency with no single segment standing out as a bland or uninspired narrative. It helps that the entire framework for this entry in the franchise seems to be a string of VHS tapes found from the year 1985, with mixtures of broadcast television and home movies. This approach makes audiences much more inclined to believe they’re watching actual pieces of found footage.
David Bruckner’s segment, “Total Copy,” seems to be the main throughline for audiences to follow. While it offers no connection to the other stories, it plays out in chunks between each segment and bookends the film. It follows a series of lab test tapes in which a group of scientists attempt to communicate with an alien creature. While a slow burn, the conclusion makes the buildup end in a very satisfying payoff.
Scott Derrickson’s segment, “Dreamkill,” breaks the traditional found footage formula in an interesting way. It takes on an air of mystery as it follows a series of murders. A detective enters a murder scene within hours of the crime occurring. Upon arrival, he freaks out and explains he saw this murder occur because he received a VHS tape snuff film in the mail days prior, despite the murder only having just happened. This strange Stephen King-esque mystery plays out in spectacular fashion, leaving audiences bewildered on a fantasy ride before completing the puzzle quicker than it began. The snuff films themselves make for the stuff of nightmares.
Natasha Kermani’s segment, “TKNOGD,” follows a one-woman show that presents virtual reality to an audience of skeptical young people. The artist explains how god is dead, yet a god does exist within the virtual world. The story takes on a slow pace at first, but when the horror kicks in, this cyberpunk thriller pulls no punches and will leave audiences terrified to come within the vicinity of any virtual reality headset they may stumble upon.
Mike P. Nelson’s segment, “No Wake,” takes place in two halves, much like Bruckner’s piece. It follows a group of friends who go camping in the woods before a sinister, unknown killer begins to pick them off one by one. “No Wake” leaves audiences in shock once the horror begins. It allows the audience to learn about these friends and their relationships before abruptly kicking off one of the most terrifying scenarios imaginable that lingers for over five minutes. Brutal and horrific, it ultimately makes for a very satisfying narrative, leaving no questions unanswered.
Gigi Saul Guerrero’s segment, “God of Death,” feels like the most traditional found footage flick, yet it still feels unique in many ways. This segment actually takes the title of the first story in the franchise to take inspiration from real life events. Guerrero’s story depicts the earthquake of 1985 that took place in Mexico City. As a building collapses, a group of people must climb deeper and deeper into the depths of their building before coming upon something that causes them more problems than the earthquake. “God of Death” will hold the crown of best performances for most audiences. The fear and survival instincts on display feel raw, and the pacing of the character’s attempted escape will leave audiences forgetting they’re not watching real found footage.
“V/H/S/85” stands out as one of the best in the long running franchise. Every segment feels as though it was made with genuine love for the overarching narrative, and audiences will be able to tell. The “VHS” franchise gives directors the unique ability to experiment and try new things on a small scale while bringing them together to make one large horror experience, and that feels on full display in “V/H/S/85.”
3 ½ found VHS tapes out of 5
