2 out of 5

Directed by: Various

We know the shtick, six entries in: VHS is a found footage horror anthology series, initially done with some type of framing “here’s why these videos exist framing” – that was almost hinting at interconnected lore – but since dumped for just getting a gaggle of writers and directors on board for some shorts.

/85, as you’d guess, jumps us back to the year of 1985, which does give it some thematic consistency, and also encourages some problem-solving – it’s early enough in the technology that cameras aren’t something everyone has; and there’s certainly not the ubiquitous sources of recording to jump back and forth to to give us different angles. Despite my low rating, that does make for a giant plus for /85, as the V/H/S series has been very scattershot with its “rules” otherwise.

Additionally: all of the entries are shot well. Justifications for having a camera pointed at X are pretty good, with lots of creative blocking to get things in frame. No one goes overboard with the 80s shtick, and moreso uses it as a general visual veneer, degrading the picture to “true” VHS quality, and limiting the horror to somewhat more “grounded” ideas that avoid overt special effects – though acknowledging that effects are certainly in play! Just well disguised.

Unfortunately, none of the entries really pay off. Normally you come out of these anthologies (and VHSes specifically) with one stand out, maybe one stinker, and then the rest are just okay, but all of the entries here are lacking satisfying conclusions, and the majority of them go on too long as an indirect result… like just wandering around until we can kill off everyone and say ‘the end.’ There is one exception – “TKNOGD”, directed by Natasha Kerman – but I’d say this is more of a showcase for some great makeup effects, while having a somewhat non-existent story. It’s a concept. Which again leans into it going on a bit too long to support it as a concept, whereas at its existing runtime, it could’ve / should’ve had more story.

The other entries are kind of the flip of that, with good story ideas that either end unspectacularly / obviously or don’t really end at all. Director Mike P. Nelson’s entries are great examples of that: there are two linked stories, which is a fun idea, and both are pretty compelling on their own, but the first one is cut off as it gains steam because it has to lead into the latter, and once the latter reveals its link to the former… that’s the twist. The end.

David Bruckner’s “Total Copy” gets broken up into pieces throughout; this makes its predictable conclusion especially underwhelming, whereas doing it as one short probably could’ve worked as a successful monster feature. Scott Derrikson’s “Dreamkill” has the most going for it, being surprisingly brutal, but – if you’re like me – as soon as a supernatural element gets introduced to something that’s going for gritty, you do a big eyeroll, and then no one knew how to end this one and it falls apart.

Gigi Saul Guerrero’s God of Death is the stinker of the bunch. It’s initially grounded in the aftermath of an earthquake (or a similar disaster), which is already pretty slow and struggles to justify dragging a camera long, but then it takes a similar turn as “Dreamkill,” and then… keeps dragging. It’s the biggest example of keeping the scene going in hopes of finding a conclusion and just eventually having to call cut when you’re at time.

V/H/S/85 is consistent, which ultimately makes it more watchable than the last entry, and successfully avoids going into any overt gross-out or over-sexed territory, all good things. Unfortunately, that’s in service of some mostly tepid entries, which results in it being immemorable.