Fantasia Fest 2024: Shelby Oaks Review

This will be one of many reviews during this year’s Fantasia International Film Festival, to keep up with our latest coverage, click here.

After an incredibly successful Kickstarter campaign amassing almost $1.4 million in funding, a film five years in the making from film critic and passionately aspiring filmmaker Chris Stuckmann is now upon us. Shelby Oaks, his feature directorial debut, hitting the screen for the first time at this year’s festival. The story follows Mia (Sullivan) as she searches for her missing sister Riley (Sarah Durn) who disappeared twelve years prior with her group of paranormal investigators in the town of Shelby Oaks.

Stuckmann’s passion and criticism of the horror genre is evident in his critiques. Naturally, audiences familiar with his work will be more critical of his debut, in search of the same tired clichés that Stuckmann has been outspoken about in contemporary horror. His script can be summarized as an enigma. While not groundbreaking, Stuckmann’s diligent restraint in using clichéd plot devices and filmmaking techniques is distinguishable as a double-edged sword. The general absence of cheap jump scares and idiotic character decisions is a welcome choice when replaced with more effective ways of communicating plot, which unfortunately, is not the case here. These absences are sure to leave audiences intrigued by the unpredictability of the story. However, much of this is the result of Mia’s realistically aimless behavior at points. Stuckmann’s honest attempt at building suspense and tension is a delightful surprise but beyond the buildup, the payoff is underwhelming, emphasizes his inexperience, overambition, and the film’s budgetary constraints.

Despite the script and budgetary issues, Stuckmann brings together a dynamic production team that immensely surpasses the level of his short films. Andrew Scott Baird’s cinematography highlights clear and unobstructed views of the film’s scenes, including gently moving aerial shots of Ohio’s abandoned filming locations, an unsettling title reveal, and a striking final shot. Coupling these shots with expressive orchestral beats, the Newton Brothers’ composing is a welcome addition in bringing a vibrant, theatrical score that is sorely missed in contemporary cinema in general. A recurring issue is that the score and camera work would emphasize key moments that are hard to interpret. Among its successes and struggles, there are still many crowd-pleasing surprises to be had.

Stuckmann is certainly an eager and passionate filmmaker in gathering a tremendous production team to create an honest attempt at subverting the horror genre. However, his yearning to make a film that omits clichéd horror tropes without finding effective replacements results in an aimless and incohesive narrative that highlights Stuckmann’s inexperience in writing. Regardless, Shelby Oaks is a necessary obstacle for Stuckmann to overcome his filmmaking growing pains and bring a start to a promising film career.

still courtesy of Paper Street Pictures

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Costa Christoulas

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