Disclaimer: I’m a blind film critic. It’s the dark side of getting Stuckmannized.

The elephant in the room. Every time we jump into a film, we come with some level of bias, which isn’t always bad. but some critics pretend like it isn’t there, which is just so hard to do. As much as one wants to go neutral on every film, we have actors we like, genres we prefer, books we read, sequels to look forward to and not, and bias can control more than you may think. I’m generally brutally honest, mainly because I’m self published, and I have no editor to tell me I need to format my review better.

I am acutely aware of Chris Stuckmann. No, he didn’t influence me to be a critic, I was already doing that. I was publishing reviews in a small town newspaper in the mid-90’s while in middle school. I’m five years older than Chris, so I think it is safe to say, I inspired him. I mean, I wrote a review before he did.

But, when the rise of YouTube film channels started happening, Chris got a subscribe from me, pretty early on. This is when I was watching the Schmoedowns, Cinema Sins, Good Bad Flicks, and some other YouTubers like Jeremy Jahns and What The Flick (which is basically now Breakfast All Day). He is solely responsible for turning me onto Brigsby Bear, one of my favorite films, and my favorite of that year. I didn’t stop watching or subscribing, even as I lost my vision. When he was looking to make Shelby Oaks, he became more of a film enthusiast, and stopped doing negative reviews. Obviously, he didn’t know who he would need to work with, so he can’t keep shitting where he plans to eat. Some say it is selling out, but he ran the risk of Hollywood locking him out just out of spite. He ran a widely successful Kickstarter, to which I did not donate, so my name is not in the 12 minutes of credits. But, lots of fellow YouTubers did. I think it has a lot to do with what people want as the endgame. This. this is all I have ever wanted, and I wouldn’t direct a film if a studio came knocking. Stuckmann recently decided Madame Webb was the hill he wanted to die on, which drew some ire, even from me, because he somewhat chastised critics for making fun of a director because directing is hard. there are other factors. Studio interference plays a part. But, Madame Webb? that choice hasn’t aged well. More recently, I thought he sold out when he promoted I Know What You Did Last Summer’s physical release as paid by Sony. The problem? Chris never reviewed the film. He only reviews films he likes. Connect those dots? Money is nice, integrity is better, and often still leads to money.

I wasn’t a cool kid invited to an advance screening of this. Some critics got flown out. Good for them. I did get this in my Neon FYC package, but I had to rent it to get audio description, paying the blind tax. the audio description here feels like a work in progress track, like it was made for his debut at fantastic fest on a budget, except that is where Mike Flanagan jumped on board as a producer, and Neon eventually snapped up the rights, and gave him a cool million to freshen it up. I would think, you couldn’t recycle the cheap track. Except, it has all the trops of bad Neon AD, where it isn’t balanced correctly, sounds like it was recorded at a poor level, misses opportunities, and encroaches on dialogue. It isn’t all bad. It tracks an early violent moment well, and a recurring theme of mold and grime is noted as it is important.

I liked Shelby Oaks. I’m not afraid to say I didn’t like it. I don’t know Chris, so there’s no upside to me placating him. But, the film is a solid indie horror debut. He set out with a script to a film based on a budget he hoped to get, and ended up with extra. It is important to work within your means, and he does that. The script is simple, and pays homage to things that came before. the film opens with a reference to the Blair Witch Project, having Riley repeat that “I’m so scared right now” moment from the original found footage film. Chris, a YouTuber, personalizes it by making Riley part of a YouTube channel called the Paranormal Paranoids, and shooting footage to make them look like real people, who actually died. Except, Riley isn’t dead. And that is where Mia (Camille Sulllivan) comes in. She’s looking to find her sister, with the help of… no one.

Stuckmann did get brief appearances from Michael Beach, Keith David, Brandon Sexton III, and Derek Mears. Yet, Mia is basically going to search alone. It is one of the weak choices, as Chris only gives her a knife, even though her working theory is her sister was kidnapped by a maybe serial killer loose in the area. Of course, it is far more complicated than that.

Camille Sullivan is a casting win, as she carries the film, surrounded by useless men. Her husband (Sexton) couldn’t be any less bothered if he tried. I’m going to pen a sequel to this and send it to Chris. Shelby Oaks 2: the Divorce. it isn’t a scary horror film, it is just Mia moving on with her life from her perpetually bored husband.

But, a little like another cabin in the woods found footage film this year, House On Eden, I enjoyed this. Stuckmann changes it up by shooting Mia traditionally, meaning only Riley’s part is found footage. often films have a hard tie making the transition, or making it work, but Stuckmann nails it. He found the right time to switch, and does.

it isn’t the best film, nor is it the best debut feature of the year. But it is a very promising one, and since Stuckmann got to spend time with one of the greatest living horror directors, I’d really like to see where that all went for his sophomore effort. Don’t give Chris a Marvel movie, like how someone looked at Nomadland and thought “this person should direct Eternals”, but just give him like 5-10 million, and allow him to prove he’s on an upswing.

It has become derivative to do any found footage film now, as the format seems to be an indie filmmakers dream. So, it is the little choices along the way, how a director changes things up, that matter and push the film in a positive direction. I’d argue Chris put enough flair, didn’t fill his movie with cheap jump scares, and tried to build real tension. He could use a masterclass on supporting character development, but as a byproduct, Camille Sullivan turns in an excellent performance because the film is so tilted in her direction.

Shelby Oaks is a self aware directorial debut, drawing from its director’s obsession with the genre, and tipping its hat to things that got him here. It also features a killer performance from Camille Sullivan. It isn’t the debut of the year, but if you like it, you can click right here and get Stuckmannized.

Fresh: Final Grade: 6.9/10