V/H/S | Under the Radar - Music Magazine
Friday, August 14th, 2020  


Studio: Magnet

Oct 05, 2012 Issue #42 - The Protest Issue
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V/H/S, the new multi-director horror anthology of found footage from antiquated video tapes, Skype, and spy-cams, is being touted as “terrifying” in its Internet teasers. The blaring, music-soaked opening, in which the a group of misanthropes sneak up behind a girl and pull her shirt up, exposing her breasts for their video camera as she screams “No!” repeatedly, is followed by the despicable youths epically destroying things—smashing windows, throwing furniture, spray-painting walls.  

Perhaps the point is that these are anti-heroes, designed to implicate the detached nature of our Internet-obsessed culture? Nope. It’s painfully obvious that the film’s creators were snickering like Beavis and Butt-head when they filmed this misogynistic drivel. It doesn’t last 10 minutes before it’s completely obvious that V/H/S will consistently fail to elicit chills, and it doesn’t even approach disturbing on an allegorical level. No, V/H/S is nestled snugly between sad and boring.

Sure, there’s blood, gore, and guts; but scary for V/H/S really just means tawdry boo- tactic fare. It also falls into the trap that befalls most anthology films—when characters exist for only 15 minutes, we don’t care about them. It’s even uneventful when the clearly demarcated bad guys die.

V/H/S fails both at being something either groundbreaking for the genre or clichéd bloody fun. Some involved have managed to do great work previously (namely Ti West’s brooding and suspenseful House of the Devil), but regrettably, this abomination is just another salient reminder that the horror genre is in desperate, painful need of true upheaval.


Author rating: 3/10

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Average reader rating: 3/10


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