The mostly played-out found footage aesthetic has its limitations, and V/H/S doesn't escape all of them. But the collected directors do manage to make many of those limitations into the films' strengths.
| Original Score: 6.5/10
I came, I saw, I hunkered.
"V/H/S" probably sounded great in the pitch meeting, but it loses all luster through some shoddy execution.
| Original Score: 1.5/4
Two hours of nausea-inducing shaky cam footage that fails to tell a coherent or engrossing central story.
| Original Score: 2/4
The film also plays to the strengths of the found-footage format, proving that sometimes the scariest things are the ones you can barely see.
| Original Score: 2.5/4
Hardcore horror lovers will soak up the gruesome morsels.
"V/H/S" puts the majority of today's mainstream "scary" movies to shame; perhaps the solution is to cut them all down to about 15 minutes, and fund them on a shoestring.
| Original Score: 3/4
At nearly two hours, the gimmick punctures a hole in itself, causing ambience bleed-out.
| Original Score: 2/5
A low-budget horror anthology with segments both ghastly and moronic ...
| Original Score: 1/5
[A] too-long, violent horror anthology ...
No one should be expected to endure 115 minutes of this nonsense.
This anthology of "found footage" horror featurettes is predictably hit-and-miss.
"The Blair Witch Project" meets mumblecore.
This indie compilation has enough inventive chills to interest any horror fan.
| Original Score: 3/5
This horror anthology collects six shorts of varying quality, all purported to be found footage. My favorite is Ti West's Second Honeymoon.
All told, V/H/S brings some cohesion to the Wild West of indie horror filmmaking, and seems destined to become a key artifact of a DIY era.
| Original Score: B
What's the point? None of the segments is particularly compelling. Strung together, it's way too much of a muchness.
| Original Score: 1/4
An ingenious hybrid: part Godardian art film, part abstract video experiment, part sleazy shocker, and all self-castigating interrogation of what film-theory types call the "male gaze."
Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
In too many of the shorts, bad acting quickly undermines the "authenticity" the aesthetics labor to achieve.
All of the short films are genuinely unnerving, and the point-of-view camerawork is, at times, startling.
Cinema's first found-footage horror anthology suggests that there's still some life left in these old tropes.
Refreshingly, V/H/S promises no more than it delivers, always a plus with genre fare.
The segments vary in quality and the whole overstays its welcome at nearly two hours.