V/H/S/85 – Film Review

When it comes to the sixth entry in the V/H/S series, V/H/S/85, David Bruckner, Scott Derrickson, Gigi Saul Guerrero, Natasha Kermani, and Mike P. Nelson embrace the anthology format while once again stumbling into the chaotic world of found footage horror. The movie attempts to frighten, disturb, and intrigue its audience with a variety of stories, and for the most part succeeds in doing so.

The anthology’s opening film, “No Wake,” from director Mike P. Nelson, features a lakeside nightmare. By fusing supernatural elements with a vengeful twist, the premise that the dead come back to life after swimming in a forbidden lake creates a spooky atmosphere. This section successfully incorporates an intriguing resurrection concept while successfully capturing the essence of traditional horror tropes.

In the midst of contemporary chaos, “God of Death,” directed by Gigi Saul Guerrero, presents a distinctive interpretation of ancient Aztec mythology. This section stands out for its inventiveness, skillfully fusing elements of historical folklore and modern horror. Guerrero expertly depicts impending doom in his visual storytelling, which leads to a terrifying insight into the reason behind a catastrophic earthquake.

“KNOGD” by Natasha Kermani delves into the ramifications of playing god online. It explores the nexus between technology and spirituality. The segment’s thematic depth is evident, providing a critical commentary on society’s obsession with virtual reality and the fuzziness of the distinction between the real world and the virtual one. “TKNOGD” is a standout entry thanks to Kermani’s narrative skill and thought-provoking themes, which elevate it above mere shock value. It’s most likely my favorite section of the whole movie. It gives me a peculiar feeling in my stomach and a sense of unease about it. My arms get goosebumps all over from it.

Mike P. Nelson’s entry “Ambrosia,” which takes a different approach, explores a disturbing family tradition. The idea of a ritualistic murder occurring during a seemingly routine family gathering gives the anthology a disturbing dimension. Despite being unsettling, this segment’s potential is not fully explored, leaving viewers with an unfulfilled sense of dread.

The story of “Dreamkill” by Scott Derrickson explores the murky worlds of destiny and prophecy. The narrative, which revolves around a man who has horrifying criminal fantasies, raises intriguing issues regarding fate and free will. Derrickson expertly spins a convoluted story filled with suspense and psychological terror. The eerie setting and unexpected plot turns in the segment keep viewers on the edge of their seats.

These stories are interspersed in V/H/S/85 with scenes featuring Rory, a mysterious figure whose relationship to the events gradually becomes clear. By weaving an enigmatic thread between the sections, these interludes give the movie a grand mystery. In the Stamer University setting, the movie’s climax explores themes of obsession and manipulation before coming to a bizarre but appropriate conclusion.

V/H/S/85 manages to provide a thrilling and varied horror experience despite its inconsistent quality. While some segments are exceptionally creative, others struggle to execute. Even though not every story succeeds, the movie’s ability to experiment with various horror subgenres and themes keeps viewers interested. V/H/S/85 offers a worthwhile, albeit uneven, journey into the macabre for fans of the franchise and those looking for a rollercoaster of horror styles.