★★☆☆☆
V/H/S/Mixtape is the latest installment in the found-footage anthology series. A series that, like most horror franchises, gets less potent and effective as it becomes more tongue-in-cheek, losing the luster that made it what it once was.
With segments from a range of directors, including Ernest Dickerson, Flying Lotus, Tobias Forge, David Moreau, Renee Zhan, and RZA.
All of whom contribute to a film that is pieced together with a crude, oversexualized narrative that doesn’t work.
The overly cheap aesthetic, with drowning dick jokes that aren’t tasteful, funny, or witty, makes it feel as if Randall and Jay tried to make a movie without Silent Bob’s heart and tasteful humor.
“Establishing a tone and atmosphere that is more parody than horror.”
This undermines every segment within the film, hindering shorts that already struggle on their own while making the stronger segments struggle as a result.
Renee Zhan kicks off the segments with Dance, Dance, Dance, Dance, a story about a studio trying to reboot an old TV show centered around puppets.
The narrative comes off as a cheap rip-off of Five Nights at Freddy’s meets Puppet Master.
While the construct itself is freshly recycled, there was a lot of opportunity to make it something worthwhile.
Unfortunately, the film fails to capitalize on the opportunity to do something great and have fun with it.
The score wasn’t utilized in the slightest, never adding any value to the segment, which hinders the experience.
Topped with poorly executed cinematography, weak performances, and poor direction, the segment fails to deliver.
The pacing was promising, but the tone and execution were troubling.
The segment had the production value and green light to make a bloody mess on screen, crafting an intense and gritty Five Nights at Freddy’s we never got, but it dropped the ball.
This is followed by an animated segment that is experimental and interestingly crafted, yet doesn’t quite fit the narrative.
David Moreau’s Heartbeat segment is the strongest in the film, without question, while also being the one that stands out the most for being inventive and horrifying.
The segment utilizes various technical techniques and aspects to create an unsettling, horrific experience.
The score builds tension, standing out compared to the rest of the segments.
Paired with cinematography that creates suspense, tension, and an eerie atmosphere.
“The segment utilizes various technical techniques and aspects to create an unsettling, horrific experience.”
David Moreau sets himself up for success by crafting a script that is simple: two people exploring an abandoned military base.
Content creators exploring abandoned places for their channel. An overused story that, while not original, is innovative in its execution.
Heartbeat stands out from the rest of the film while adding value to it. However, its drastic difference from the other segments also creates a greater fluctuation in pacing and tone.
Death Tone, the final segment, co-written and directed by RZA, is one of the most disappointing, as it was simultaneously my most anticipated segment.
The script was interesting and original while paying homage to some iconic moments in horror history.
Patrick Bateman would be pleased.
The setup and concept aren’t the problem; it’s the execution and direction.
RZA is a seasoned director who has made some good movies that are fun, entertaining, and well-crafted.
Where the direction struggles here is in crafting the horror element and utilizing the various elements to create suspense, tension, and fear.
While it lacks the necessary elements to craft a great horror segment, it’s bloody and gory enough to make a decent exploitation segment.
“The script was interesting and original while paying homage to some iconic moments in horror history.”
V/H/S/Mixtape, as a whole, lacks a clear vision and execution. While there are some good sequences, it ultimately fails to capture what once made the series what it was.
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