Shelby Oaks Review: Chicago’s Latest Horror Flick Blends Found-Footage and Mockumentary with Mixed Results
Abhira 
Chris Stuckmann, a well-known YouTuber, makes his directorial debut with Shelby Oaks, a film distributed by Neon that attempts to blend found-footage horror with mockumentary storytelling. Set against the eerie backdrop of Chicago, the movie follows a woman’s desperate search for her missing sister. The film’s premise has the ingredients for a gripping psychological thriller, but its execution leaves much to be desired.
Shelby Oaks dives into the world of horror through a found-footage lens, a style that often adds realism and immediacy to storytelling. Mixed with mockumentary elements, the film aims to create a layered narrative, delivering the kind of immersive experience fans of the genre might expect. However, rather than creating suspense and intrigue, the movie often feels clunky and disjointed.
The protagonist’s journey to uncover the truth is compelling, yet the film’s pacing is uneven, and its storytelling approach lacks precision. Despite these shortcomings, the atmospheric tension and the thematic exploration of missing persons cases manage to hold audience interest to some extent. The cinematography, while functional, does not stand out, and the performances, though earnest, are hampered by the script’s awkward transitions and uneven dialogue.
Stuckmann’s transition from YouTube critic to filmmaker is noteworthy, but Shelby Oaks reveals the growing pains inherent in such a leap. The film’s attempt to blend genres results in a product that doesn’t quite satisfy fans of either format. Its innovative concept is commendable, yet the final product is somewhat frustrating, failing to fully capitalize on its potential.
Summary
Shelby Oaks is a bold yet flawed attempt at reinvigorating the found-footage horror genre by fusing it with mockumentary storytelling. While it offers a new perspective and a fresh face behind the camera, the film struggles with narrative cohesion and polish. Nonetheless, it might appeal to viewers interested in experimental horror or those curious about Stuckmann’s filmmaking style.
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