No one come to me, comfortable however, just say vant jaoks ei ole n secuvh nasalik anges. I trailers for 90 minutes I feel like there s going to die just holding it a little more discomforting. Everything that can have been expressed with a single trailing off of words is more than I can handle and more difficult as well. Each annual installment became an event as the audience waited for the new movie release with all its fanfare. The string of V/H/S/Beyond movies gets longer with every festival season and trickles its way to us.
In the final segment of this cinematic article, a self-publishing author Jay Cheel as is accustomed from any other projects including the fascinating Cursed Films, gets some leisure and parodies himself by creating something along the lines of an original streaming docuseries about two tapes containing extraterrestrial footage. These wraparounds usually have a literal leash on and off the anthology classification segments in this franchise. That said, this one is still more thematic in nature, even establishing the repeating theme of the allure of the impossible recorded on a V/H/S/Beyond camera.
The creative juices in “Beyond” begin to flow with “Stork,” a low-budget video game-type shoot em up action segment from Jordan Downey that blends various genres including first-person zombie POV shooter video games. Some officers had a few days off to play ‘cosmetic detective’ because they’re looking for some babies who are missing, including one of the missing babies of several missing policemen, and they get to this old house which is filled with all kinds of terrible creations, a few of them were so awesome that one of them included a chainsaw. Begrudgingly, it is the most straightforward segment up to its WTF ending and entertaining on its funny action-ons. Get in, take a good trip, kill some enemies, do reckless awesome gore make-up effects, get out.
Feasibly the most ambitious sequence of the film from the perspective of sleekness was that of ‘Dream Girl’, which even presents to you the first ever bollywood dance sequence in a ‘V/H/S’ movie. The first half of this one is brilliant and one can see that Pal is a filmmaker at heart, even under the frantic camera work of a place where two photographers are running behind an Indian actor. When one of them manages to sneak into the icon’s trailer, he finds something most unfathomable,…and madness ensues. And chaos, not action, and chaos. I’m talking, of course, about actual shaking, shouting, flashes, and sounds. The point is that in fact one has to be quite proficient in working with a shaky cam for it not to simply be apathy inducing, which this one thankfully does not cross over into.
I quite understood the wavering acceptance in the case of “Live and Let Dive” by Justin Martinez as any cynicism can be forgiven because the idea in that film is just SO freaking brilliant. This installment manages to narrate a horrific yet thrilling tale in the same way “Go Pro meets zombies” did, its been long since this series has found such simplicity. Here, a dozen tourists are on a skydive trip to commemorate the thirtieth birthday of a member when all of a sudden, thousands of kilometers above the ground, they witness an alien attack. And as we see half of this group smashing against the earth after their airplane blast, the remainder continue running through an orange grove so as not to be captured by the great aliens that are now chasing after them. It is “District 9” but skydiving. And that is cool.
What is less cool is “Fur Babies” by Justin Long that only shows how “Tusk” has quite destroyed Mr. Long. A variation on that film’s deformation fetish, “Fur Babies” does have some nasty make up effects but as with most of these segments this one is also too long. There is no need for “V/H/S/Beyond” to be almost two hours of run time. I believe the chapters in the forthcoming parts will benefit from cutting the segments down probably by 15 -20 percent. Nearly every chapter of every one of the six movies, is in my view, too full and would have benefitted from some clipping.
That statement applies even to my favourite segment in this one, ‘Stowaway‘, which is the first film directed by Kate Siegel from her husband Mike Flanagan’s script. It is because I was not expecting this one, given my experience with the other segments of V/H/S/Beyond. First, its more faithful to the subtitle, being an actual recording that has been recorded over around ten times. Secondly, it doesn’t depend on overuse of disorientation, not that what Siegel chooses to obscure is a weakness. It is about a woman who is following up phenomena of lights in the sky and why this is closer to that film is more desperation than species. It has moments that are strange but not strange in terms of gross-out or strange in terms of disorientating. But it just goes to show what the best of the V/H/S/Beyond segment in fact does not just come up with ideas but demonstrate that this kind of filmmaking does not belong in a box even if there is one.
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