‘V/H/S/85’ Review – Latest Entry In Horror Anthology Is Bloody And Darkly Funny

The V/H/S anthology series has been going strong since 2012. Now, just in time for October, a brand-new entry, V/H/S/85 is about to be unleashed onto a ravenous audience. The most exciting development is that David Bruckner, who directed the very first segment in the first V/H/S, has returned to the franchise. Hardcore horror fans might recall that Bruckner recently directed the Hellraiser remake, a project that had been in development hell for a long time. The film received much praise from critics and fans alike.

While the long-running series has never fully disappointed fans, the previous two installments have been rightly considered the best in the franchise. Not to mention, they introduced great new characters such as Ratma in V/H/S/94 and Mabel the demon in V/H/S/99. The previous two films had arguably the best segments in the entire series, so expectations were very high for the latest entry. Thankfully, this delivers in high concept, scares, and goopy fun. 

David Bruckner directs the wraparound segment entitled “Total Copy” and does a fantastic job at setting the mood and tone for the film. “Total Copy” is a recorded television show akin to Unsolved Mysteries that tells the story of a group of scientists experimenting on a creature. When they put a television set in its room, it begins to copy the physical form of what it sees. Bruckner provides some interesting commentary on the power of media to shape events and people. Both this concept and satire could have been taken further, though. Still, it’s a fun premise that works incredibly well within the format and visual style.

“No Wake/Ambrosia” starts off like a typical ‘80s slasher, with a group of teens getting killed within the background of a sunny camp. In classic V/H/S fashion, the sunbaked cliches are quickly turned on their head. Director Mike Nelson helms a carnival of gore and horror that showcases everything right about this series. The limited time makes for a lean and provocative segment that manages to take a well-worn horror staple, a la young people getting killed at a camp, and put a fresh spin on it. The concept of being forever stuck as a mangled shell of your former self is disturbing on a very human level. It perfectly echoes that classic horror quote, “Sometimes dead is better.” While this is great, the second part, which comes later in the film, has a finale that is so damn satisfying.

“God of Death” is next and is directed by Gigi Saul Guerrero, who has been making some truly exciting horror films that incorporate her Mexican heritage. Guerrero uses the actual 1985 Mexico City earthquake as the backdrop, this time imagining an on-air segment caught up in the deadly disaster. Of course, there is something more sinister afoot. The horror genre has always been a great way to contextualize tragic events and boil them into something meaningful. “God of Death” is probably one of the weaker entries, as it feels like a rehash of Rec, the groundbreaking found footage film series. Still, the segment has enough creepy claustrophobic cinematography, and the finale is badass.

“TKNOGD” or “Techno-God” is the next segment, and we are viewing a recording of a female performance artist giving a monologue about the new digital god that allows her to summon something evil using special gear. Natasha Kermani, who directed the criminally underrated Lucky, does an excellent job at marrying high concepts with icy terror. Kermani builds the mystery from the very first minute, and you cannot help but be curious about where the story is going. This level of worldbuilding is not only well handled, but the finale is also extremely satisfying. Unlike “God of Death,” we get enough new ideas to elevate it from its inspirations.

The final segment, “Dreamkill,” easily could have been a rehash of A Nightmare on Elm Street, but it takes the concept of deadly dreams in an entirely new direction. Detectives are on the trail of a serial killer and receive tapes of his handy work. When they catch a goth kid mailing out a tape, he makes a wild claim that he has an eerie connection to the crimes, dreaming of the murders prior, which is then recorded onto a VHS tape. In line with the other segments, director Scott Derrickson crafts a cerebral horror outing that never gets too complicated, nor does it undercut its own premise. The “home movies” of the murders are served best with the VHS-low-fi aesthetics. Throw in a solid twist and a great finale, and you have a segment that is likely to become a fan favorite. Although, it probably would be better as a feature-length film to really get into the worldbuilding more completely.

The wraparound concludes the short “Total Copy” in a stellar way and thus closes out V/H/S/85. Despite some weaker entries, this is a razor-sharp addition to an already great franchise. Bloody and darkly funny while filling you with icy creeps, V/H/S/85 is the real deal.

V/H/S/85 is currently available to stream on Shudder. 

[youtube https://www.youtube.com/watch?v=Ke20dnbwZXs]