Shelby Oaks Summary and Review - Found Footage. Lost Souls

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Part mockumentary, part found footage, and part traditional horror, Shelby Oaks follows Mia, whose sister Riley went missing twelve years earlier while investigating an alleged haunting with her vlogging team.

The film opens with clips from Riley’s YouTube channel, The Paranormal Paranoids, where she and her team explore derelict locations, including the now-infamous town of Shelby Oaks. When they vanish during one of their investigations, the footage sets off a disturbing and increasingly frantic search for the truth.

A Shocking Event

Mia has never stopped searching for her sister, and when she’s interviewed for a new documentary on the subject, the renewed attention reignites her determination to get to the root of the mystery once and for all. After a stranger arrives at her home, a shocking incident leads to the discovery of a Shelby Oaks tape, featuring the last recordings of the Paranormal Paranoids. Mia decides to withhold this from the police (plausibly, in my view) and starts watching the tape. She discovers disturbing evidence that offers clues to the events of her sister’s final days. Recollections from their childhood spark reminders of strange occurrences from that time and Mia starts to link these with Riley's disappearance drawing her deeper into both obsession and her own investigation.

Good Foundations, Uneven Results

I was looking forward to Shelby Oaks as one of October’s more anticipated releases. On paper, it offered plenty: the mockumentary framing, a central mystery and a generous helping of found footage and, for the most part, this works well. With strong cinematography and fabulous lighting, it set an atmospheric tone combined with a score that plays a well judged supporting role - present when needed and its absence at key moments helps build tension. However, this skillful technical scene-setting was undermined by a lack of balance in other key areas of the film.

Two scenes in particular highlight this uneven quality. One, involving a pack of savage dogs, suffers from shockingly poor practical effects — I’ve seen films with far smaller budgets handle this sort of sequence far better. By contrast, the segment set in the cabin is eerie, atmospheric, and beautifully shot, enhanced by the unsettling presence of Norma.

The same inconsistency extends to the film’s character development. Mia’s relationship with her husband, Robert, deteriorated after Riley’s disappearance, yet although he remains present, little is made of a component that could have added real dramatic tension. It leaves the viewer wondering why he’s included at all. Camille Sullivan, as Mia, carries the story well and delivers a strong performance, but she could have benefited from greater support from the surrounding cast and script.

The Main Weaknesses

The film’s main weaknesses lie in its slow pacing and lack of pay-off. The story moves along steadily, building the tension nicely, then loses momentum before finding its pace again. There are a few effective jump scares but these serve to punctuate rather than drive the narrative. The final reveal has a decent twist or two but it felt a bit flat and the viewer may feel that they don't care very much by the time it arrives.

Shelby Oaks reminded me of many better films and looked less like homage and more like a rehash of old ideas. I understand that Mike Flannigan (Executive Producer) beceame involved in a mentoring role and there were a number of cuts and re-shoots, which would explain why the whole thing doesn't quite gel — in spite of Flannigan's genius. It’s a watchable and at times engaging piece, but it doesn’t fully deliver on its promise.

The result is a mixed bag — uneven in tone and execution, and never quite finding its own identity. Despite its intriguing concept and strong visuals, Shelby Oaks feels like a film caught between ambition and execution.

2.5/5

Mia: Camille Sullivan
Riley: Sarah Durn
Robert: Brendan Sexton III
Detective Burke: Michael Beach
Morton: Keith David
Norma: Robin Bartlett
Writer/Director: Chris Stuckmann
Year of Release: 2024
Runtime: 105 minutes

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