No assembly RequireD

Being a critic is one of the easiest things you can do. The saying everyone is a critic truly has weight to it, and today being a “film critic” is a self imposed badge of honor. Twitter, YouTube, TikTok, Letterboxd and more all allow us to build our own platform and deliver our criticism sometimes thoughtful other times just plain cruel. And while being a critic especially a published or verified (whatever that means these days) can be a sign of legitimacy there will always be the ongoing argument that critics are just opinions that don’t go far. It’s a baseless accusation and the only sole defense is that many film critics themselves have not studied or worked in film themselves. SHEBLY OAKS directed by Chris Stuckmann is a perfect example of putting your money where your mouth is, a film where the critic went from in front of the camera to behind it to finally show us if he too can compete with those he analyzes. The project a once simple idea in 2021 quickly became a first hand experience for Stuckmann displaying all the trials and tribulations that go into a film production, and SHELBY OAKS met them all. Lost funding, delayed production, an actors strike, re-writes and re-shoots all to wind up in front of a festival audience with the now Neon production behind it and a wide release right around the corner. But as a film SHELBY OAKS is both a testament to those that came before and inspired Stuckmann as well as the voice of a creator who was most likely tired of just reviewing films, and watching the dreams of others come to fruition. On the one hand a deeply personal film to Stuckmann inspired by his own upbringing as well as a film that soars along familiar territory that for better or worse has enough frights and tropes to satisfy the masses. SHELBY OAKS without question comes off like a first film, but one so clearly created with passion as well as a plea for everyone to go out and get their story made. Less a film that opens up the door for the next voice and more a reminder that the door is open so the excuses to not get it done dimmish with each passing day.

SHELBY OAKS seems familiar. A film that opens its doors to us through the usual found footage telling us about the YouTube channel for ghost hunters known to the internet world as Paranormal Paranoids. A group of four whose fame and following only grows when we learn of their strange and unsolved disappearance. At the center of this is Riley Brennan (Sarah durn) the supposed leader of the group due to her more clairvoyant tendencies. Riley’s disappearance becomes the subject of a documentary following Riley’s sister Mia (Camille Sullivan) who believes that not only is this not some internet hoax for more clicks, but also that Riley is still out there and something far more sinister is at play. Initially even with a mystery at hand SHELBY OAKS feels like Stuckmann just really wanted to make his own found footage film. A documentary crew searches for a missing girl and something evil will most likely ensue. And yet as someone who has probably seen everything under the sun, Stuckmann and SHELBY OAKS has a far more interesting trick up its sleeve. Thankfully it doesn’t take long to get there and while this critic would never spoil the fun (minor spoiler warnings) there is still a changeup that allows SHELBY OAKS to detour from being just another found footage. This doesn’t remove itself fully from all its influences because even with switching things up SHELBY OAKS still feels less of a product of sarcastic found footage films and more in the realm of the true emotional heartbreaks such as “Lake Mungo.” It’s a welcome sight to see the film move its found footage aspect away from obnoxious camera men and often misogynistic behavior and instead find its self at the center of family love. Sullivan as Mia is always believable that pushing forward is the right thing to do and even when her choices derail her personal life it always comes with the self acknowledgment allowing the film to never feel convenient for convenience sake.

With its mystery at hand SHELBY OAKS dives deeper into a darker pit of Hell that will vary on its suspense factor. There is enough goes bump in the night atmosphere to fill an entire forest. And like most modern day horrors the scares are half and half, when its earned it’s a blast while other moments hit the same tiresome beat. But what keeps the film at its best is the feeling of dread that comes from Sullivan’s performance as well as this overarching feel that comes when we poke around too much. There are plenty of horror films that will make you think twice about doing a certain activity but SHELBY OAKS seems to be more focused on the overall feel of what happens when you fully immerse yourself in something dangerous and unmarked. For a very serious film there is still some light commentary on any ghost hunter that is determined to break into that old and abandoned prison just for the story or more so today the followers. And while the days of reading Weird N.J. has unfortunately dwindled there is still that excitement to seek out those old ghost story locations. But where this is strengthen even greater is the behind the scenes notion that Stuckmann himself is entering his own paranormal paranoid investigation. For Riley it was about seeking the unknown and now for Mia it is diving into her sister’s world, ne that is terrifying and rightfully so. Stuckmann has fully entered the world of film production which no laughing manner can be its own form of personal Hell. As a filmmaker he is chasing after those that came before right down to some eagle-eyed references (some more fun than others) and still Stuckmann proves this fascination is worth trying to grasp, not for followers but rather just to be a part of the story. Even as SHELBY OAKS sticks its landing in some regard while leaves a little too much untouched in other areas Stuckmann has now become what he spent so many years dissecting. The analyzation is now everyone else’s and in doing so he opens his film up to its greatest horror ever; the critics.

B+

SHELBY OAKS SCREENED AT THE 2025 FANTASTIC FEST IN AUSTIN TEXAS. NEON WILL RELEASE THE FILM IN THEATERS OCTOBER 24