V/H/S/94 (2021)
Directed by Jennifer Reeder
After the discovery of a mysterious VHS tape, a brutish police SWAT team launches a high-intensity raid on a remote warehouse, only to discover a sinister cult compound whose collection of pre-recorded material uncovers a nightmarish conspiracy.
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What critics compared V/H/S/94 to
What Movies Will It Remind You Of?: I picked up on nods to Scanners , RoboCop and, erm, Paranormal Activity vibes.
By the time 2012’s “V/H/S” arrived, we were knee deep in “Paranormal Activity” sequels and countless POV possession thrillers with no end in sight.
The first V/H/S movie came out in 2012, arriving at the tail end of the low-budget found-footage horror craze ( Paranormal Activity and REC came out in 2007; Cloverfield was 2008) and capturing the last moment in culture before VCRs became totally obsolete.
Barrett proves the most ambitious in this respect, filming “The Empty Wake” from three (mostly) stationary cameras, and building tension from the way he cuts among them; it’s a variation on the wonders the Paranormal Activity franchise has worked with fixed angles and restricted point-of-view.
It’s like seeing the ending of Bride of Frankenstein from the Bride’s perspective … if the Bride had then picked up a futuristic gun arm and battled her way out of Dr. Frankenstein’s castle in an absurdly gory first-person shooting sequence reminiscent of Hardcore Henry on steroids.
Next up is Timo Tjahjanto’s “The Subject,” a barebones, “Hardcore Henry” brew of hypecaffinated nonsense.
The third and fourth segments are unique in there own way to follow up the first two, where Timo Tjahjanto’s “The Subject” has a similar premise to Hardcore Henry , or any other movie involving insane action.