Key Takeaways:
– Shelby Oaks, a paranormal-themed movie by YouTube film critic Chris Stuckmann, falls short of high expectations, according to a review.
– The film’s major release can be accredited mainly to Stuckmann’s internet fame.
– While the movie incorporates an interesting plot twist and has a polished score, its lack of originality and scare factor is pointed out.
– Stuckmann’s directorial debut is regarded as decent and promises a potential filmmaking career.
The spotlight was on the Fantasia Film Festival this year, featuring the film “Shelby Oaks” by debut director Chris Stuckmann. Known for his YouTube film criticism, Stuckmann ventured into new territory with this movie. Now the question everyone was asking was: Could Stuckmann turn critical expertise into directorial prowess? We hate to burst the bubble, but “Shelby Oaks” might not have hit the high mark it was expected to.
Sometimes fame can be quite catchy. Think of how viral videos with catchy tunes sweep the internet. Stuckmann, already popular on the internet, leveraged his fame for a big jump into the theater. But was this move hasty? Some people think so. Yes, being famous on YouTube helps get your name out there, but it doesn’t guarantee an equally stellar career in filmmaking. Without a doubt, “Shelby Oaks” isn’t awful, but maybe it wasn’t ready for the bright theater lights just yet.
“Shelby Oaks” heralds us into a chilling tale involving Mia (Camille Sullivan), on an intense quest to find her sister Riley (Sarah Durn), a paranormal investigator who mysteriously vanishes. That sounds like a solid plot right? It is…up to a point. The movie takes an interesting twist early on, a twist we’ve been asked to keep under wraps. Without spilling the beans, all we can say is that plot twist made things a bit tricky.
The film employs the “found footage” genre, which has been done before. Also, the narrative swings rapidly in unexpected directions: Mia’s transformation into a detective feels jarring, and Robert’s shift – from a supportive husband to considering his wife as losing it – seems abrupt. While Chris Stuckmann makes the most of his budget, the problem isn’t the money. In simple words: the movie isn’t scary. It’s surprisingly tame. For a flick that aims to give us the chills, it comes off as lukewarm.
Camille Sullivan, as Mia, did her best to breathe life into a rather flat character. However, the character seems one-dimensional throughout the movie, only to face a sudden and hard-to-swallow reversal late in the story. On the brighter side, the movie has a neat score, thanks to The Newton Brothers, who are known to collaborate with producer Mike Flanagan. Despite a polished soundtrack, the movie’s unevenness begs the question: Is Neon thinking of fixing these rough edges before the movie hits the theaters?
“Shelby Oaks” has had a bumpy start; it isn’t the train wreck some might dread, but it isn’t precisely a haunting thrill ride either. Chris Stuckmann’s debut shows promise for a potential filmmaking career, but he might have to dig deeper to reach the brilliance we were hoping for. Time will tell if this YouTube critic turned director will soar higher in his next venture. In conclusion, while “Shelby Oaks” may not have hit it out of the park this time, it’s far from over for Stuckmann in the world of filmmaking.
