We kicked off this episode with a bit of nostalgia and excitement. It’s not often we get to rewatch a film after seeing its first cut at a film festival, and Shelby Oaks gave us that rare opportunity.
We first saw it last year at the Fantasia Film Festival, where it premiered to a strong reception. Now that it’s had its official theatrical release, complete with reshoots and a tighter edit, we were curious to see what had changed and how it held up after a year.
Chris Stuckmann, a well-known YouTuber and film critic, wrote and directed Shelby Oaks, marking his directorial debut.
The original story was co-written with his wife, Sarah, and the two collaborated closely throughout production. What’s really special is that the movie began its life on Kickstarter, where it absolutely exploded.
With a goal of $250,000, it hit that mark within 24 hours. It ended up raising nearly $1.4 million, making it the most-funded horror movie in Kickstarter history. That kind of backing shows just how invested people were in seeing this project come to life.
After its initial success, Shelby Oaks was picked up by Neon for distribution. They were so impressed, they funded three extra days of reshoots with over a million dollars to enhance specific elements of the movie, especially the bloodier scenes.
They also brought in a new editor to tighten things up, and it shows. Watching this version felt different; sharper, cleaner, and more emotionally compelling.
The Story Behind the Screams
At its core, Shelby Oaks tells the story of Mia, a woman still searching for answers twelve years after her sister Riley disappeared. Riley had been part of a paranormal investigation group called the Paranormal Paranoids, who made found footage-style YouTube videos back in the early 2000s.
Over time, all of Riley’s fellow group members were found dead, except Riley, whose body was never recovered. The story kicks off when Mia becomes involved in a new documentary about the case, which leads her down a terrifying path that reopens old wounds and stirs up dark forces.
The fictional town of Shelby Oaks, where Riley vanished, is portrayed with eerie authenticity, partly because the film was shot in Ohio, Stuckmann’s home state.
He used familiar locations, including an abandoned fairground with a rusted-out Ferris wheel that adds visual weight to the film’s mood. The production design makes the town feel both grounded and otherworldly at the same time, which helps sell the mystery and horror Mia confronts.
The movie begins with a documentary-style intro, a creative decision we still love. When we first saw this at Fantasia, the opening completely fooled us into thinking the entire film would follow that format.
About fifteen minutes in, it transitions smoothly from faux-documentary into a traditional narrative, which genuinely got a round of applause from the Fantasia crowd. That transition still held up on our rewatch; it’s seamless and smart, pulling you deeper into the story without losing your footing.
Found Footage, Atmosphere, and a Demon in the Details
One thing we really appreciated this time around was the atmosphere. The film leans heavily into slow-building tension and dread rather than jump scare overload. Sure, there are a few well-placed jump scares that got us again, but the vibe throughout is moody and unsettling in the best way.
We found ourselves constantly scanning the corners of the screen, looking for shadowy figures or movement. That kind of engagement is rare, and it speaks to the quality of the cinematography and the storytelling.
Speaking of visuals, the found footage elements were handled really well. They felt authentic and added depth to the narrative rather than distracting from it. And we have to talk about the demon.
The second time around, it was much more visible than we remember. We don’t think the original version showed it as clearly. This time, we could see actual features, a hand here, a figure there, slowly becoming more prominent as Mia’s investigation progresses. It’s a classic buildup where the monster stays mostly hidden until the final act, and it works.
What really stood out was the demon’s presence, not through physical action but through influence. It doesn’t stalk people in a slasher movie way; it puppeteers from the shadows. It’s a malevolent force that manipulates and corrupts rather than attacks outright, and that’s way creepier.
The film wisely doesn’t over-explain the demon or its backstory. There’s some light demonology sprinkled in, symbols, names, a bit of research, but the mystery remains intact. We liked that the audience never knows more than Mia does. It keeps us locked in her perspective and adds to the uncertainty.
Characters That Carry the Weight
Camille Sullivan, who plays Mia, does a phenomenal job. She carries nearly the entire film on her shoulders, appearing in almost every scene. Her performance anchors the story, and her reactions sell the tension.
When something creepy happens, it lands because we feel it through her. That’s especially important in a movie that relies more on tone and mood than action.
Mia’s personal story, especially her struggles with fertility, adds an emotional layer we didn’t fully appreciate the first time. It’s mentioned early on that she and her husband tried and failed to have a child.
That thread quietly weaves through the film and comes to a head when she discovers her sister was kept alive for years to produce a demon child. The way Mia clings to the baby at the end is heartbreaking and disturbing all at once.
It raises big questions: Is she emotionally vulnerable enough to see this child as her own? Is she making a horrifying mistake? We don’t get clear answers, and that ambiguity made us think about it long after the credits rolled.
We also have to shout out some of the side characters. Robert, Mia’s husband, is a bit of a jerk, but he adds texture to the story. And then there’s Norma, the eccentric, creepy old woman who shows up briefly but steals every second she’s on screen.
She’s funny, unsettling, and perfect. Plus, there are some recognisable faces in the cast, including Michael Beach and Keith David, who add gravitas even in small roles.
Pacing, Editing, and Final Thoughts
This new cut of Shelby Oaks moves at a much better pace than the original. We remember feeling like the second half dragged a bit at Fantasia, but that’s gone now. The tension doesn’t let up, and the runtime, about 90 minutes, feels just right.
That’s thanks in large part to the new editor, Brett W. Bachman, whose resume includes The Fall of the House of Usher, Color Out of Space, and Mandy. His work here really elevates the film.
We walked away from this rewatch feeling impressed all over again. The film’s mix of styles, documentary, found footage, and slow-burn horror, works surprisingly well.
It never leans too heavily on any one approach, and that helps it stand out. We’re genuinely excited to see what Chris Stuckmann does next. This debut shows he’s not just a film critic with a camera; he’s got serious chops as a filmmaker.