Shelby Oaks - Did I Get Stuckmanized?

Overview

This episode reviews Shelby Oaks, the feature film debut of YouTube movie critic Chris Stuckmann. The discussion explores the film's technical achievements, narrative flaws, and Stuckmann's transition from critic to filmmaker.

Notable Quotes

- Having the balls to be the man in the arena instead of just another cynical critic who never tries anything of their own is a pretty admirable thing. - On Chris Stuckmann's leap into filmmaking.

- The script feels like a Frankenstein's monster stitched together from pieces of other better stories, unable to settle on a strong central arc that it can develop properly. - On the film's narrative issues.

- Ultimately, Shelby Oaks is kind of what I expected... neither an artistic triumph nor an embarrassing disaster, but instead a flawed and cautious kind of movie from a filmmaker who's still finding his feet in the industry.

🎥 Chris Stuckmann's Filmmaking Debut

- Shelby Oaks marks Chris Stuckmann's transition from YouTube movie critic to filmmaker, a bold move that earns admiration for his willingness to take creative risks.

- The film demonstrates Stuckmann's potential as a director, showcasing competent technical execution, including solid cinematography and effective tension-building.

- While the performances are serviceable, Camille Sullivan stands out with a growing confidence in her role as Mia, though her early scenes feel slightly underwhelming.

📜 Narrative Challenges

- The script struggles with focus, attempting to incorporate too many horror subgenres and themes, including found footage, demonic possession, death cults, and fractured family dynamics.

- The result is a cluttered and tonally mismatched story that lacks a strong central arc.

- The pacing falters, with an extended info dump at the start and a meandering second act that fails to progress the story meaningfully.

🔦 Technical Strengths

- The film's visuals are polished, with well-framed shots, dynamic lighting, and atmospheric locations like abandoned buildings and underground tunnels.

- Jump scares are effectively timed, showcasing Stuckmann's understanding of horror mechanics, though they lack groundbreaking impact.

🕵️‍♀️ Missed Opportunities

- Keith David's brief appearance is underutilized, serving only as a quick exposition dump without meaningful integration into the story.

- The finale, featuring hell hounds and a character blasted through a window, feels more comedic than terrifying, undermining the emotional payoff.

🎭 Final Verdict

- Shelby Oaks is neither a standout success nor a failure, but a cautious debut from a filmmaker still finding his footing.

- While it doesn't break new ground in horror, it establishes Stuckmann as a competent director with room to grow.