I’d been waiting on this movie since the pandemic. I could’ve sworn I donated money, but I didn’t see my name in the credits. No harm; no foul; life’s a blur, especially then. I’ve still got a lot in common with this film’s director.

That said, let’s see what the fine folks at Wikipedia have to say about this film:

The Rev-iew:

I’ve watched Chris Stuckman’s film reviews on YouTube for a decade now. With the exception of once or twice, he and I are normally on par with what tickles our film-fancies. Then, one day, he got personal.

Come to find out, he was a repressed child growing up in a house of weaponized religion. He was obsessed with film, but bound by his home’s beliefs. Movies were forbidden.

I related to his confession on multiple levels, and I vowed to support his feature debut, “Shelby Oaks.”

Then, life happened. I bought tickets for an Alamo Drafthouse showing, and my wife had to take a business trip. My ten year old isn’t into horror films, so I couldn’t make the showing. I didn’t ask for a refund; I just let it slide. Stuckman got my money regardless.

Then, I pre-purchased it on digital and awaited the home release with much antici – pation. I got COVID, and it put me down for two weeks. The last thing I wanted was to get deep into a much awaited film while sick. Mentally, every time I watched it from then on, it would remind me of being sick. I have a weird brain. Just ask Indiana Jones and the Last Crusade. It makes me feel like my nose is stuffy, and that film came out in the late eighties!

Now, finally, after months of avoiding reviews and spoilers, I had my moment.

Did I like it? Absolutely.

Did I love it? No.

Did I ruin the experience by hyping it up in my own head for years, and then dangling it out in front of my own face upon availability, until the PERFECT moment arrived? Possibly.

Don’t get me wrong, I absolutely love what’s in this film, but I felt as though a lot of Stuckman’s own love ended up on the cutting room floor. I think a longer, more fleshed out version – something with a major studio budget, yet minimal final-cut interference – is warranted.

I spent ten years of my life as a paranormal investigator in the early days of social media. The story of a missing paranormal YouTuber hit pretty close to home with me. Then, the older sister is a part of a current YouTube documentary about the missing family documentarian? Where does it end? Wait…

What if we make a film about a chick in a film about a chick in a film? Genius?

Where this movie does shine is in its subtlety. I felt influences from both The Blair Witch Project and Hereditary at times. If you’re going to draw influence from a seasoned professional for on-screen suspense, Ari Aster isn’t a bad choice! Also, although paranormal, the paranormal was very much grounded in realism. No sky beams; No over-the-top CGI. Chef’s kiss.

Now, let’s talk about Camille Sullivan. This lady should teach a master-class on how to appear frightened on film. If anything, her performance is the selling point. At times, I felt it may have overstayed its welcome on screen by a microsecond or two, but she sold me on every scene. Damn those naughty editors and their silly microseconds.

I was really hoping this would be my favorite film of the year, but Sinners is a bad ‘Mamma Jamma’. Ultimately, Stuckman has emerged as a mighty fine horror filmmaker despite his upbringing. That’s the true success story here. Unfortunately, I write film reviews, not people reviews.

It’s impressive for a first film, so here’s to a better experience in the second viewing.

3 1/2 of 5

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