The story of Shelby Oaks is, in itself, a remarkable feat. It began not in a Hollywood boardroom, but with a film critic – Chris Stuckmann – and a simple sketch shared with his online audience. He had amassed over two million followers on YouTube, a dedicated community eager for his insights.
In 2016, Stuckmann began developing the script, and soon after connected with producer Aaron Koontz. Together, they launched a Kickstarter campaign, hoping to raise $250,000 to bring the vision to life. The response was astonishing. The campaign didn’t just meet its goal; it exploded, ultimately securing over $1.39 million in funding. This unprecedented success caught the attention of horror luminary Mike Flanagan and the production company Neon.
Shelby Oaks centers around a haunting question: What happened to Riley Brennan? The film unfolds initially as a found-footage mockumentary, introducing the Paranormal Paranoids – Peter, David, Laura, and Riley – a group of online paranormal investigators. Their channel documented their explorations of haunted locations across the US, culminating in a trip to the desolate ghost town of Shelby Oaks, where they vanished without a trace.
The early segments focus intensely on Riley, whose body was never recovered. Her sister, Mia, shares a deeply personal account of their childhood, their bond, and the devastating impact of Riley’s disappearance. A chilling event – the suicide of a mysterious man at Mia and her husband Robert’s home, and the tape he left behind – ignites Mia’s desperate search for answers.
The film then dramatically shifts gears, transitioning from the raw, immediate feel of found footage to a more traditional narrative structure. Mia begins to witness fragments of Riley’s final moments and embarks on a journey to Shelby Oaks, determined to uncover the truth.
Those fortunate enough to see early versions of the film at festivals in 2024 experienced a slightly different cut. Neon provided additional funding, specifically to amplify the film’s visceral horror elements. The result, hitting UK cinemas October 29th, features more graphic imagery and an extra, intensely frightening death scene.
Stuckmann’s passion for the genre is palpable, woven into every frame. The film pays homage to classics like *The Blair Witch Project*, *Lake Mungo*, and *Noroi: The Curse*, while simultaneously forging its own path. The opening mockumentary sequence feels strikingly authentic, mirroring the proliferation of true crime documentaries that dominate streaming platforms today.
Stuckmann’s understanding of influencer culture and the pressures of online content creation adds another layer of realism. The Paranormal Paranoids’ rise to fame, and the dangers that accompany it, are portrayed with unsettling accuracy. Camille Sullivan delivers a truly captivating performance as Mia, portraying a woman consumed by grief and driven by an unwavering determination.
However, the film’s stylistic shift proves to be a double-edged sword. While the mystery remains compelling and the atmosphere consistently eerie, the transition away from the found-footage format diminishes the film’s initial momentum and impact. The final act feels somewhat disjointed, failing to fully capitalize on the promise of the earlier segments.
Despite this, *Shelby Oaks* remains a haunting exploration of loss and obsession. Sullivan’s portrayal of Mia’s pain – the loss of her sister, and the unfulfilled potential of her own life – is far more chilling than any supernatural threat. It’s a film that lingers in the mind long after the credits roll.
*Shelby Oaks* is an impressive debut, brimming with intriguing ideas, carefully crafted visuals, and compelling performances. It firmly establishes Chris Stuckmann as a filmmaker to watch.
