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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
The horror streaming platform, Shudder, has had a hefty handful of horror titles debut at last month’s Fantastic Fest, and there is seldom to be disappointed with. This includes the newest addition to the Bloody Disgusting found footage horror anthology film series, V/H/S. While reboot-sequel installments V/H/S/94 and V/H/S/99 took place at the turn of the 20th century and V/H/S/85 took place the decade prior, V/H/S/Beyond doesn’t exactly play with time. Instead, the new entry concerns the metaphysics of space and the manifestations of evil with roots in that realm. This seventh film in the franchise is as ambitious as ever, transforming what could be and further delivering on unsettling ideas.
The frame narrative, “Abduction/Adduction”, is directed by Jay Cheel.
V/H/S/Beyond‘s first segment, “Stork”, is written by Jordan Downey and Kevin Stewart. Downey also directs the segment. The second segment, “Dream Girl”, is written by Virat Pal and Evan Dickson; Pal also directs the segment.
The third segment, “Live and Let Dive”, is written by Ben Turner and Justin Martinez (V/H/S, Southbound, V/H/S/94, V/H/S/99, V/H/S/85). Martinez also directs the segment.
The fourth segment, “Fur Babies”, is written and directed by brothers Christian and Justin Long (Drag Me to Hell, Movie 43, Tusk, Barbarian, It’s a Wonderful Knife).
The fifth and final segment, “Stowaway”, is written by Mike Flanagan (Oculus, Hush, The Haunting of Hill House, Doctor Sleep, The Haunting of Bly Manor, Midnight Mass, The Midnight Club, The Fall of the House of Usher, The Life of Chuck) and is directed by Kate Siegel (Hush, The Haunting of Hill House, Midnight Mass, The Fall of the House of Usher).
In this review, I will discuss V/H/S/Beyond. As this article’s title suggests, no spoilers will be present.
Shudder’s V/H/S/Beyond Synopsis
According to Shudder Press, here is the official synopsis for the feature film, V/H/S/Beyond.
V/H/S/BEYOND, the seventh installment of the V/H/S franchise will feature six new bloodcurdling tapes, placing horror at the forefront of a sci-fi-inspired hellscape.
Shudder Press
Discussion
As with most V/H/S films, it’s exciting to see a new set of segments and how they may be related. It is always curious to learn how the video home system (VHS) tapes are each discovered and somehow brought together to tie into the frame narrative. For example, the original V/H/S involved a group of young males breaking into a house, with the task of stealing a specific VHS tape by playing different tapes in a videocassette player. In V/H/S/2, a pair of private investigators are hired to track down a missing college student. V/H/S/Beyond‘s frame narrative, “Abduction/Adduction”, is a different situation.
“Abduction/Adduction” is an impressive satire of the History Channel’s Ancient Aliens and similar media pertaining to conspiracy theories. The narrative’s on-screen interviewees are authentic figures, but weaving its narrative through the other segments is an unanswered mystery. “Abduction/Adduction” involves a missing Chinese man who left behind two VHS tapes, which somehow ended up at a flea market. The unanswered mystery, then, is figuring out how VHS tapes containing the other segments tie back to the frame narrative not just thematically but physically. Interviewee Mitch Horowitz says that evidence of the unknown is one thing, but absolute proof of that unknown equates to truth.
Documenting the Uncanny on Film
The elements that comprise this film never fail to impress. Music composer Nick Soole’s cross-genre soundtrack in “Stork” is radical and thrilling. It complements the science-fiction tone, the horror imagery, and the overall action sequences of monster hunters fighting against reanimated humanoids as if resembling a shoot-em-up video game. Even co-screenwriters Downey and Stewart twisting a couple of lines from a nursery rhyme to add to the discomfort is feasible. Likewise, the lyrics to “Goddess” in “Dream Girl” are obviously ominous, and yet, it’s a freaking catchy song. The music video aspect of the song also marks a great juxtaposition between how celebrities are seen on screen and behind the scenes.
Stewart’s body-cam point-of-view (POV) shots in “Stork” can be bewildering, showing whose perspective in any given frame belongs to which camera but never highlighting who each W.A.R.D.E.N. officer is. C. Broome (Thom Hallum), Segura (Phillip Andre Botello), J. Ellis-Tate (Vas Provatakis), and F. Bennet (Jolene Andersen) make themselves known. However, if it weren’t for the vocalized namedrops, there is no way to identify them. I do appreciate referring to Ellis-Tate as “E.T.”, a reference to the Spielberg film and more so to V/H/S/Beyond‘s theme. Regardless, with the aid of Downey’s editing, the POV shots are good for shifting perspective and getting within close distance of the segment’s monsters.
Cinematographer Alexander Chinnici’s camera work in “Fur Babies” is clever. Becky Baxter’s (Libby Letlow) doorbell camera illustrates black-and-white imagery of people outside her home. It nicely nods to the fact that dogs’ visions are limited to shades of gray amongst a select few colors. Their POVs through other means are also outstanding but can be nightmare fuel in intense circumstances. Akin to “Stork”, the cinematography in “Fur Babies” has disquieting close-ups that will not escape viewers’ minds anytime soon.
Seeing Is Believing
The production designs across the film are great, showcasing the little resources needed to assemble them. “Stork” features an abandoned home whose interior designs keep climbing up the surface as if beating regular enemies before reaching the mini-boss before reaching the final boss. Production designer Prashant Dubey’s film studio lot in “Dream Girl” is not an immense set piece, but the minor details still matter. The Tarantula movie poster of Tara (Namrata Sheth) is a nice nod to the segment’s plot itself. The social hierarchy feels more like a food chain, and Tara can either position herself above others or below them since she isn’t depicted as average.
Tara’s dressing room/trailer has an austere aesthetic, with one wall lined with small photos of the celebrity and the other wall covered in mirrors and her makeup table. It’s almost as if to exhibit a full reflection of Tara and what her presence brings without ever being interrupted by outside forces. The Bollywood film studio itself is quite the stage, and Tara sure knows how to electrify the room with her brilliance. The segment’s lighting towards the end is a creative challenge of sight, especially with room for a good jump scare. It magnificently juxtaposes well with space, emphasizing the importance of sight as well as movement.
Why Does It Look Like That?
Production designers Jessee Clarkson’s “Live and Let Dive” and Calder Greenwood’s “Fur Babies” set pieces are just as simple-looking but rhetorically can act as eye sores. The former’s skydiving plane is a striking combination of claustrophobia and acrophobia with characters sitting so close together, packed like a can of sardines.
The juxtaposition of the ground floor in Baxter’s Doggy Dream House with the basement floor below is like putting Barbie side-by-side with Oppenheimer. On the one hand, there is a superficial appearance to the Dream House. On the other hand, there is the basement, and it isn’t as if basements in horror movies are terrifying at all, right? Conversely, the set decoration in the Dream House is innocuous compared to the Humans Against Animal Cruelty “headquarters”, which has so much clutter insofar as to inform the audience that they are activists and they are angry.
Greenwood’s alien ship interior in “Stowaway” has dim lighting, and on first viewing, it is difficult to see the goings-on of Halley’s (Alanah Pearce) adventure. Visual effects artists Justin Martinez and Chris Diaz’s “microscopic nanotechnology” sequences are indescribable. Along with the frame narrative’s final scene, the aesthetics are jaw-droppingly horrific, and if anything, bleak. Martinez, Diaz, and cinematographer Michael Fimognari craft stellar sequences where Halley can move about in the depths of outer space, even going so far as to demonstrate dumbfounded terror in the eyes of viewers.
Transhumanism and Excitement in the Search
The collaborative direction for V/H/S/Beyond is wholly appreciative. The franchise continues experimenting with visual antagonisms brought to the screen, frequently changing the overarching meaning of the films. Special makeup effects veteran, Patrick Magee, deserves abundant praise for the constant on-screen depiction of monstrosities. The brooders’ open foreheads and all-white pupils, not to mention the fake baby bodies and the sizeable titular creature in “Stork”; the goddess, Tara, in “Dream Girl”; the particular parachute victim and the dead woman in “Live or Let Dive”; Becky Baxter’s Annie Wilkes appearance and her canines in “Fur Babies”; and the two paralysis demon-like deformities towards the end are wicked in a good way.
This entry centers on alien sightings—most of it, anyway—, pointing out that different generations each use certain language, such as “poltergeist” or “Martian”. Thematically, the Shudder film continues the franchise’s impactful jabs at the human condition, such as in “Dream Girl”, which involves a clash between the working class and the bourgeois class, as well as the master-slave dialectic. Pal and Dickson spotlight what it means to wear a face as if it defines individual identity.
Tara’s manager (Ashwin Mushran) in “Dream Girl”
“[Y]ou do more for less. Stars can always be replaced.”
The dehumanization of human beings—or rather, the humanity of the non-human—in “Fur Babies” is bleak, with the loss of hope that people can have decency. Similarly, “Stork” and “Stowaway” both suggest what it looks like to be made in an ungodly image. One segment redefines birth, while the other redefines Hell.
The Crew Behind Shudder’s V/H/S/Beyond
Patrick Magee (Jurassic Park III, V/H/S/94, V/H/S/99, V/H/S/85) serves as the special makeup effects lead. Justin Martinez serves as the visual effects supervisor.
Sean Mark Lamb Lewis serves as the post-production supervisor and the supervising editor.
Renai Buchanan and Zach Goheen are the supervising sound editors for the post-production sound department. Juan Campos (Werewolves Within, A Wounded Fawn, V/H/S/99) and Mia Vinciguerra are the dialogue editors.
Buchanan also serves as the sound designer. Jared Anderson is the sound effects editor.
“Abduction/Adduction”
V/H/S/Beyond‘s frame narrative is shot by Mike McLaughlin.
Cheel serves as both the editor and the composer.
Chris Daker and Martinez are the VFX artists. Magee serves as the special effects designer and key special makeup effects artist.
“Stork”
The film’s first segment is shot by cinematographer Kevin Stewart.
Downey serves as the editor. Nick Soole composes the music for the segment.
Jeffrey Gafner serves as the casting director.
Jessee Clarkson serves as the production designer. Darren Roberts is the set decorator.
Abbie Martin serves as the costume designer. Maegan Rebecca (Joe Pera Talks with You, V/H/S/99, V/H/S/85) serves as the head of both the makeup and hair departments.
Martinez and Chris Diaz are the VFX artists for the segment. Magee serves as the special effects designer and key special makeup effects artist.
“Dream Girl”
The film’s second segment is photographed by Tapan Tushar Basu. Meet Sewak is credited for the stills photos and “making of”.
Tanya Chhabria is the editor. Raghav Gupta and Manas Sharma are the assistant editors.
Prassanna Vishwanathan scores the soundtrack for the segment.
The segment’s musical number, “Goddess”, is composed by Vishwanathan and Daniel Cossu. Virat Pal and Vishwanathan write the lyrics, with vocals by Hamsika Iver.
Gautam Kishanchandani serves as the casting director. Saloni Chandra is the casting associate.
Abhishek Pai serves as the choreographer of the “Goddess” musical number. Ananya Bera is the assistant choreographer.
Prashant Dubey serves as the production designer. Nitin Kumar Singh is the art director.
Ekta Singh serves as the costume designer. Avinash Pawar serves as the hair & makeup artist.
Chang Fu-Cheng serves as the special effects designer and key special makeup effects artist. Yang Yi-Chun is the special makeup effects artist.
Martinez serves as the VFX artist. Peter Larson serves as the additional VFX artist.
“Live and Let Dive”
In the third segment, Dan Marks serves as the cinematographer.
Ben Turner serves as the editor.
Gafner is the casting director. Rory Corrigan is the skydive stunt coordinator.
Clarkson serves as the production designer.
Abbie Martin serves as the costume designer.
Maegan Rebecca serves as the head of both the makeup and hair departments. Andrea Steele is the additional hair & makeup artist.
Martinez is the VFX artist, with Magee as the special effects designer and key special makeup effects artist.
Justin Martinez’s Radio Silence co-founders Tyler Gillett, Matt Bettinelli-Olpin, and Chad Villella are credited in the segment’s Special Thanks.
“Fur Babies”
In the film’s fourth segment, Alexander Chinnici serves as the director of photography.
Thom Newell (V/H/S/94, V/H/S/99, V/H/S/85, Don Mancini’s Chucky) serves as the editor.
Gafner is the casting director.
Calder Greenwood (Swiss Army Man) serves as the production designer.
Keri Palmetto is the art director/property head. Shelby Tuper is the set decorator.
Megan Lian serves as the costume designer.
Rebecca serves as the head of both the makeup and hair departments. Steele is the additional hair & makeup artist.
Martinez is the VFX artist. Magee serves as both the special effects creature creator and key special makeup effects artist.
“Stowaway”
In the film’s fifth and final segment, Michael Fimognari (The Lazarus Effect, Ouija: Origin of Evil, The Haunting of Hill House, Doctor Sleep, Midnight Mass, The Midnight Club, The Fall of the House of Usher) serves as the cinematographer.
Emily Freund serves as the editor. Sean Mark Lamb Lewis serves as the assistant editor.
Trevor Gates is credited as the supervising sound editor and sound designer.
Gafner is the casting director. Avaah Blackwell serves as the Halley action double.
Greenwood serves as the production designer.
Palmetto is the art director/property head. Shelby Tuper is the set decorator.
Martin serves as the costume designer.
Kat Bardot is the key makeup artist. Maegan Rebecca is the makeup artist.
Martinez and Diaz are the VFX artists for the segment. Magee serves as both the special effects creature creator and key special makeup effects artist.
Scott Wampler is credited in the segment’s Special Thanks.
The Cast of Shudder’s V/H/S/Beyond
The frame narrative, “Abduction/Adduction”, features Brian Baker, Trevor Dow, Gerry Eng, Sam Gorski, Mitch Horowitz, Niko Pueringer, Wren Weichman.
“Stork”
Thom Hallum portrays C. Broome, the leader of W.A.R.D.E.N.
James C. Burns (General Hospital) portrays J. Aubert. Jolene Andersen portrays Sergeant F. Bennet.
Tyler Joseph Andrews plays P. Ivy. Vas Provatakis plays J. Ellis-Tate “E.T.”, an officer and a father of a victim.
Phillip Andre Botello plays Segura, the rookie of the team.
Michael J. Sielaff (The Orville, HBO’s Barry Season 2, How I Met Your Father) plays “Pale Face”/ babysitter.
Morgan L. Chancelien plays a giant brooder.
Dane DiLiegro (American Horror Stories Season 1, Prey, Guardians of the Galaxy Vol. 3) portrays the role of the Stork.
Chris Page, Alan Maxson, Blaine Magee, and Morgan Magee play brooders.
Suzie Usaj voices a radio DJ.
“Dream Girl”
Namrata Sheth portrays Tara, the titular “dream girl” of India.
Sayandeep Sengupta portrays Arnab, a paparazzi and aspiring actor. Rohan Joshi portrays Sonu, Arnab’s assistant.
Ashwin Mushran plays Tara’s manager. Rikin Saigal portrays Gippy, a production crew member who helps Arnab and Sonu.
Farhan Syed plays the film director behind Dawn of the Dayan, starring Tara.
Swati Jain plays Pari, a celebrity.
Virat Pal appears as the voice of Arnab and Sonu’s boss.
“Live and Let Die”
Bobby Slaski portrays Zach, the protagonist of the segment.
Rhett Wellington plays Logan, a friend of Zach.
Bix Krieger portrays Brittney. Jerry Campisi plays Noah, Brittney’s husband.
Hannah McBride plays Jess, Zach’s wife.
Skip Howland plays Pilot Skip. Jeff Turner appears as Skip’s nephew.
Dominique Star plays a solo jumper. Jared Trevino plays Jess’s instructor.
Matt Tramel portrays an injured instructor.
Felipe Cortés Muñoz plays a tandem instructor. Zori Latkovic plays a tandem student.
Nate Shane plays a legless guy. Sebastian Redd plays a dazed instructor.
Mike Ferguson portrays a farmer at an orchard.
“Fur Babies”
Libby Letlow portrays the segment’s antagonist, Becky Baxter.
Kevin Bohleber portrays Miles, the leader of Humans Against Animal Cruelty.
Matthew Layton and Braedyn Bruner play Stuart and Angela, activists sent to spy on Baxter’s operation.
Phillip Lundquist plays Bo, Baxter’s mute brother.
Trevor Wright portrays Abraham/Paleman, one of Baxter’s hostages.
Other Humans Against Animal Cruelty include Cameron Krugman as Pat, Jenna McCarthy as Christina, and Sivan Genier as Sam.
William Granillo portrays Gary, a human-dog hybrid.
“Stowaway”
Alanah Pearce portrays Halley, the protagonist of the fifth and final segment.
V/H/S re-quel series producer Josh Goldbloom plays “colorful local”. Boomer Feith plays Local #1.
Yuritzi Bojorquez portrays Local #2.
Joey Wilson (Hulu and Marvel’s Runaways Season 2, HBO’s Westworld Season 2, Beverly Hills Cop: Axel F) portrays the alien figure.
Performances and Character Developments
Despite being an effective villain, Becky Baxter is sloppy at what she does. Letlow portrays her so well, down to mannerisms eerily reminiscent of Kathy Bates’s Annie Wilkes. Still, her communication of information to others is just as careless as how the activists communicate. Recording her work only makes matters worse, and how she treats people will only incriminate her further. Letlow has lovely line reading, persuading viewers to believe that perhaps she is a dog person after all.
Mike Flanagan subtly writes Halley as a person who isn’t rhetorically sound, especially in how she deals with memory. She shares her knowledge of aliens and space travel, yet she fails to recall how that might affect her. She also enters predicaments that she has no clue how to get out of, such as when she erases access to what may be the memory of her daughter that she has. Pearce’s American accent offers a side to the Internet personality that has not been seen before. What Halley’s obsession costs are her self-destruction and the transformation of self in her attempts to create a more publicized presence.
Final Thoughts on Shudder & Cinepocalypse’s V/H/S/Beyond
Learning the subtitle for this new V/H/S installment, Beyond, had a weird insinuation. What is “beyond” this horror anthology series? How do you up the ante after seven films? A part of me hopes this isn’t the end of the franchise because there are still so many potential narratives to tell. Returning to “Stork” sometime soon could be helpful, given a brief look at the W.A.R.D.E.N. officers having their own collection of VHS tapes placed on a shelf outside their conference room. It’s an absurdly good segment that leaves the door open for more missions if necessary.
“Live and Let Dive” is a sick joke that exploits common human fears and delivers a witty, unspoken punchline. “Fur Babies” is uncannily reminiscent of Justin Long’s performance in Kevin Smith’s Tusk from a decade ago, albeit reduced to around a twenty-minute runtime. “Stowaway” is baffling but saves itself in its conclusion. V/H/S/Beyond has fast-paced storytelling revolving around themes of creation and discovery. It’s coherent enough, aside from the larger mystery with its frame narrative.
4.5/5 stars
V/H/S/Beyond is now streaming via Shudder starting today, October 4th!
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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
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