A woman’s desperate search for her long-lost sister falls into obsession upon realizing that the imaginary demon from their childhood may have been real.
“Shelby Oaks” reached a significant achievement within the independent film scene, garnering $1,390,845 via Kickstarter—making it the highest-funded horror project ever on the site. The original target was just $250,000, so the campaign’s outcome surpassed the goal by more than five times. Watching the finished film, it’s hard to believe it was crowdfunded; the production looks as polished as anything from a major Hollywood studio. This speaks volumes about the vision and abilities of Chris Stuckmann, who co-wrote and directed the film. For his first feature, Stuckmann shows remarkable confidence, using the wide 2.39:1 aspect ratio to create striking visuals. “Shelby Oaks” illustrates that horror—even with found-footage influences—can be crafted with style and visual precision, steering clear of the dizzying camera work that often dominates the genre.
The plot follows the Paranormal Paranoids, a fictional team that investigates haunted places and shares their adventures on YouTube. Things take a dark turn when the group disappears while staying at an isolated, abandoned house. When police later uncover three mutilated bodies, only Riley (Sarah Durn), the group’s leader, remains missing. Over time, Riley is assumed dead, but her sister Mia (Camille Sullivan) refuses to let go. Estranged from her husband Robert (Brendan Sexton III), Mia dedicates herself to uncovering what happened to Riley, chronicling her own investigation along the way.
The story takes a chilling twist when a stranger named Wilson Miles (Charlie Talbert) arrives at Mia’s door and dies by suicide on her porch. Before the authorities arrive, Mia finds a small videotape in his hand and secretly takes it. The tape contains disturbing footage that confirms the brutal fate of Riley’s friends, but also hints that Riley might have been kidnapped instead of killed. Combining evidence from the tape and the police investigation, Mia proposes her theory to Robert, who dismisses her ideas as unreasonable. Undeterred, Mia continues her search alone, retracing Riley’s last steps and unearthing the sinister past of Shelby Oaks—a deserted town marked by supernatural occurrences and violent history. As she digs deeper, Mia’s quest becomes increasingly nightmarish, forcing her to confront realities that challenge her own sanity.
At first, the film adopts a found-footage approach, but soon shifts as Mia’s documentary interviews reveal the audience is actually witnessing the recordings left behind by Riley’s team. From there, the perspective changes, following Mia’s journey through more conventional storytelling. Unlike movies such as “The Blair Witch Project,” Stuckmann avoids the overuse of shaky handheld shots. Even scenes depicting Riley’s investigations are filmed with restraint, resulting in a controlled and sophisticated visual style.
The cinematography is one of the movie’s standout features. Cinematographer Andrew Scott Baird’s careful, composed shots are a far cry from the chaotic visuals typical of modern horror. Whether employing locked-off frames, slow tracking shots, or smooth drone footage, each scene is crafted to heighten both atmosphere and suspense.
While the film’s look is consistently impressive, some of the acting does not always reach the same level. Camille Sullivan brings nuance to Mia, although her more intense moments can feel a bit forced. This may be due to Stuckmann’s limited experience working with actors, as he’s transitioning from short online videos to a full-length feature. These growing pains are noticeable, especially given the film’s focus on character-driven storytelling.
The first half of “Shelby Oaks” is particularly strong, delivering gripping tension and genuinely creepy sequences. The latter part, while still well made, relies more on familiar horror tropes, making certain developments easier to predict. This is common in the genre, but after such a creative beginning, the final act feels less fresh.
Even so, “Shelby Oaks” stands out for its original spin on found-footage horror and its stunning visuals, evoking the mood of John Carpenter’s “Halloween.” Stuckmann and his team have managed to produce a film that distinguishes itself through both story and style—an impressive accomplishment for a debut director. It will be interesting to see where Stuckmann’s career goes from here.
In Theaters Friday, October 24th
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