Shelby Oaks Review: Chris Stuckmann’s Debut Film Feels Like A Missed Opportunity

Chris Stuckmann’s debut film, Shelby Oaks, backed by Kickstarter and Mike Flanagan, makes its way from its initial premiere at Fantasia in 2024 to Neon’s lineup, after being adjusted and launched at Fantastic Fest. Stuckmann’s passion for the horror genre is evident, particularly for found footage films, however, it’s this avid admiration that may be the film’s downfall as it heavily borrows from superior films such as The Blair Witch Project and Lake Mungo. Despite its promising opening, the film feels overly familiar and falls short in fully capturing the horror imparted by the films that inspired Stuckmann.

– Chris Stuckmann’s debut film, Shelby Oaks, was highly awaited but falls short of expectations due to Stuckmann’s over-reliance on trite horror film tricks that were already exemplary in previous works like The Blair Witch Project and Lake Mungo.
– The storyline follows the disappearance of a YouTube paranormal investigator and her team, with the succeeding mystery and quest for answers transitioning from found footage type to traditional filmmaking, which leads to a loss of the initial sense of danger.
– Although Stuckmann’s storytelling has room for improvement, his tenacity and dedication to the project, along with commendable performances by actors like Keith David, laud him with potential for future endeavours.

In the opening scenes of Shelby Oaks, we witness what appears to be parts of an interview for a documentary about the mysterious disappearance of YouTube star, Riley Brennan (played by Sarah Dunn). The plot thickens when she and her team of ghost hunters called the Paranormal Paranoids vanish after filming a segment in an abandoned prison. Twelve years later, Riley’s sister Mia (played by Camille Sullivan) sets out to unlock the mystery around her sister’s disappearance.

After providing some context through the introduction, Stuckmann switches from found footage to a more conventional filmmaking style, and the film’s intrigue deflates. The found footage delivers a sense of danger that is absent in the conventional digital filmmaking. Notably, Stuckmann does not seem to find solid, innovative visual language beyond the footage from Riley’s videos.

One of the drawbacks of Shelby Oaks is its repetitive reliance on the same tricks and techniques. The narrative could have been more intriguing if it explored fresher themes instead of retreading familiar paths. What Shelby Oaks does very well is emotional grounding. Even as the film introduces ghosts, demons, or malevolent forces, it never loses sight of the human element: grief, obsession, the need to know. That balance is fragile, but when it holds, it keeps you invested. The film often hints at what lies behind the horror rather than showing everything, which is a wise choice for much of its run time.

Nonetheless, Stuckmann’s journey from critic to filmmaker is commendable, and it’s clear that he put much effort into Shelby Oaks. His choice to give character actor Keith David a scene-stealing spotlight was an interesting touch. A film about a haunted prison might have felt fresher than this film, which feels like it’s traversing previously chartered territory.

Shelby Oaks is set to release on October 24, 2025, and does have its high points. However, it could have been a much stronger debut if it had striven for originality and diversity in its narrative and visual language.

RATING: 2.5 out of 5 stars.

Shelby Oaks will be released on October 24, 2025.