Horror as appeared to have gone into an anthology
phase, with recent productions such as The ABC’s of Death and V/H/S hitting our screens. Whilst the former is an alphabetical run through of various depictions of death, V/H/S took
firm position in another sub genre, following in the footsteps of The Blair Witch Project and Paranormal Activity - found footage. The premise for V/H/S places six found footage shorts within a
narrative framework that follows a group of young men, hired to desolate a house
and acquire a rare VHS tape. The bunch of leery misfits are confronted with a
dead body, old televisions and an endless supply of footage, the content of
which progressively worsens.
Reviews were mixed for V/H/S and rightly so. The
portmanteau is full of chilling, smart ideas and tainted with a grainy, lo-fi
aesthetic, creating a particularly grungy, scuzzy tone. Yet the
inconsistent quality of each short, teamed with notoriously gratuitous nudity
throughout tainted the viewing experience and restricted its potential. Not to
mention, the group of young men on which the framed narrative followed were
particularly unlikable. Thank goodness then, that V/H/S 2 is a vast
improvement. Showcasing four strong shorts (some more than others), this sequel
encroaches on an array of sub-genres and tonal qualities that make for a pretty
decent display of horror.
V/H/S 2 follows a similar narrative framework to its predecessor; a shady
private detective and his girlfriend are on a mission to track a missing college student. They enter his seemingly abandoned house with the hope of finding him or some clues.
Instead they find a stack of televisions and a selection of tapes which are
inevitably played. Between each tape, these intermittent sequences surrounding said characters are poor. Amidst
the weak performances and unlikable characterisation, the only saving grace is certain horror clichés that heighten the intensity. Be it the detective’s slow investigation of
the house using the light from his camera, or static shots that keep you checking the frame’s peripherals, a strong sense of
suspense consistently lingers. There are one or two pay-offs too, the continual emergence
of a mysterious figure is a
particularly creepy touch, albeit ruined by the complete predictability of who
the figure is. However, much like its predecessor, the narrative framework in V/H/S 2
is the films weakest element and in fact hinders the strength of the short
films, which really and truly are what this production is all about - and so it
should be, because they are something to admire.
The first short is directed by Adam Wingard (director of
upcoming release You’re Next) and is entitled Phase 1: Clinical Trial. It
follows Herman Middleton, a man who has recently lost his sight in a car
accident. As a means of recovery he opts to get a retinal implant and from then
on, everything is recorded and monitored for research purposes. Through
Middleton’s point of view we see his lavish house and remedial day-to-day
activity, but all soon descends into spooky territory with ghostly apparitions.
The strength of Wingard’s piece lies within the camera trickery, ultimately
providing the strongest jolt-scares out of all four shorts. The vision of an
outlined figure lying beneath the bed sheets, only to disappear and emerge
behind our protagonist was extremely well executed, arguably providing one of
the films’ biggest frights. It’s a shame then that it all feels slightly wasted
on yet another unlikable character and a plot that soon delves into a nonsensical
sensibility. Nevertheless, Wingard's execution of particularly jumpy moments
is strong and should not be underestimated. 
Following this is A Ride in the Park, directed by Eduárdo Sanchez and Gregg Hale (The Blair Witch Project). It’s a brilliant short filmed
entirely through a “Go-Pro” camera, mounted on a cyclist’s helmet. Whilst
riding through the woods he comes across a woman badly injured, only to discover she is a zombie who fast makes a meal out of our
protagonist. I know what you’re thinking and yes - the found-footage-zombie sub
genre has been done to death (most famously with Rec), turning as limp as the
un-dead that feature within them. Yet Sanchez and Hale provide a twist by
showing the experience from the zombie’s perspective. We remain with the “Go-Pro”
camera throughout the zombification process, his first meal and the terrorisation of a child's birthday party.
This point-of-view approach allows for a multitude of blackly comic moments, including
the realisation that eating your own flesh is not very nice. The use
of sound effects and close up shots compliment the comic tone rather well, adding
a distinctly gory sensibility (watch out for the entrails sequence), altogether
making the viewing experience all the more enjoyable. 
Safe Haven however, is V/H/S 2’s most brilliant and
strongest segment. Directed by Gareth Huw Evans (The Raid: Redemption) and Timo Tjahjanto,
this short follows a group of young journalists in Indonesia wanting to make an
‘objective’ documentary on a cult. Of particular interest is the cults leader,
known as Father, who apparently has illicit relationships with children. Although, it
turns out that is the least of their worries. The interview with Father begins in his remote facility, only to be cut short and not just due to technical
difficulties. According to Father,
the time of reckoning has finally come, causing chaos to erupt and a descent into complete and utter madness. Through
their various pieces of recording equipment, we see how each protagonist witnesses a
series of harrowing events. From mass suicide, zombification, throat slashing and
the inexplicable birth of a demon, each sequence progressively turns all the more bizarre and
bloody... and boy is it bloody. The unabashed portrayal of graphic imagery
certainly makes for a tough but exhilarating watch as sheer visceral terrors
unfold on screen incredibly fast – it’s a thrill ride... a bat-shit crazy
thrill ride. The final sequence in which the short culminates is also rather
brilliant, a slightly comic conclusion (which doesn't scarper from the terror
before it) and an image to behold, providing a snot shot that puts The Blair
Witch Project to shame. 
It’s unfortunate that Safe Haven wasn't saved until last, as any short
following such a brilliant piece of excessive pandemonium is bound to come
across as a bit of a lull. This is the case for Slumber Party Alien Abduction,
the final installment in V/H/S 2 and directed by Jason Eisener (Hobo with a Shotgun). No hidden agenda in
the title here, as the short follows a group of annoying teenagers whose
sleepover is soon interrupted by an alien invasion. The piece isn't without its
strengths. There are effective jolt-scares and a sequence which will
undoubtedly make for tough viewing to those of a claustrophobic disposition.
However the “doggie-cam” approach felt tedious, as did the disorientating
camera shake. Of course as a found footage piece, this particular aesthetic is
to be expected, but it was used to the extreme and undoubtedly as a means to
distract from the comparatively (and noticeably) low budget to Safe Haven. None
of this is to say that Eisener’s short is poor – it is enjoyable – but the let
down here is more a matter of bad placement, having to follow a predecessor
of such high quality.
A vast improvement upon its predecessor, V/H/S 2 is a strong
array of jumps, chills and graphic imagery, sometimes underlined with a
brilliantly blackly comic tone. Phase 1: Clinical Trial and Slumber Party
Alien Abduction are not without their faults, but that only lands in comparison
to Safe Haven – a cavalcade of gore, terror and absolute bedlam. The surrounding narrative framework continues to stand as this soon-to-be franchise’s weakest point and
the entirety of this film would undoubtedly reign stronger without it. However
these are all nitpicks over what is otherwise a solid anthology, showing there
is still life in the found footage sub-genre yet and that Evans is most definitely a filmmaking force to be reckoned with.
Have you seen V/H/S 2? What were your thoughts? Post a comment!
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