V/H/S/85 is now available for streaming on Shudder. The following review is based on a screening at Fantastic Fest 2023.
The V/H/S series has become a beloved tradition for horror fans during the Spooky Season, and V/H/S/85 is no exception. This latest installment continues the tradition of granting filmmakers creative freedom to create short, found-on-video horror stories, but this time with a 1980s theme. The events in the film range from prophetic goth kids predicting murders to water skiers stumbling upon eternal life. The diverse range of storytelling has always been a highlight of the V/H/S collections, and it continues to be in V/H/S/85. Even after five entries in the anthology series, this film still feels as fresh and exciting as Betamax did in 1975. If you’re a fan of the V/H/S series, V/H/S/85 won’t disappoint you.
It’s always a pleasant problem to have when you can’t immediately choose a favorite segment in an anthology film. However, after some internal debate, Gigi Saul Guerrero’s “God of Death” takes the cake. The segment is a thrilling natural disaster tale that pays homage to the director’s Mexican roots. It follows a cameraman from a Mexico-based television studio as he captures the chaos of a catastrophic earthquake in real-time. As the film progresses, Mexican folklore influences the carnage, resulting in an intense and effects-heavy experience. Guerrero’s exceptional use of the short film format creates a heart-pounding pace that leads to an incredibly jarring moment.
V/H/S/85 Gallery
Another standout segment is “Dreamkill,” directed by Scott Derrickson and co-written by C. Robert Cargill. It is the mind-bending highlight of the film, with shades of their previous collaboration, Sinister. The segment features grainy footage and gruesome murders that evoke the disturbing nature of Baghuul’s films. The story revolves around an investigating cop’s son, who witnesses each murder in his dreams before they happen. The segment is filled with twists, turns, and plenty of gory moments that rival some full-length horror films.
Mike P. Nelson’s “No Wake” follows as it targets boating vacationers with an unknown sniper. The segment ends abruptly but is still entertaining as we witness the aftermath of the shooting victims. The special effects once again shine through with blown-open jaws and exposed intestines. Although the segment leaves us wanting more, it delivers a satisfying twist later in V/H/S/85.
Natasha Kermani’s “TKNOGD” combines live theater and ’80s virtual reality in a visually stunning stage play. We watch an actress attempting to summon the “Techno God” using a virtual reality device called “Eye-Phones.” The segment builds up to a crimson-red climax that delivers, although it may be a bit one-note compared to the others.
Lastly, David Bruckner’s science fiction wraparound segment provides a framework for the film. It intercuts footage from an observational research facility that studies an alien entity named “Rory.” The entity spends hours watching television, learning about humanity through Jazzercise programs and ’80s sitcoms. While the segment has a predictable conclusion, it adds a killer punchline to V/H/S/85. The effects are outstanding, and the anthology wraps up without any major missteps.