The Big Difference Between ‘V/H/S/99’ and the Rest of the ‘V/H/S/’ Horror Anthology Franchise May Throw You Off
The V/H/S series of films is one of the more inventive horror movie franchises in recent memory. Each iteration introduces the audience to the talents of young or underappreciated filmmakers with creative and creepy stories to tell.
While every installment is not connected to the events of the previous film (outside of a couple of easter eggs), all of the movies are presented in a way that’s become one of V/H/S‘s signature stylistic flourishes. V/H/S/99 is the first film in the franchise to tweak the formula — with mixed results.
‘V/H/S’ was a fresh new hit in the horror genre
V/H/S came out in 2012 to little fanfare. However, it quickly became a cult classic among found footage fans. The movie is framed by the narrative of a group of sketchy criminals breaking into an abandoned house to steal an unmarked videotape at the request of a mystery buyer armed with the promise of a big payday.
Inevitably, the house is full of tapes, and once the gang begins to go through the collection, the movie fully unveils itself as an anthology of short films.
For many horror movies, overstaying your welcome can be a fatal flaw. There is a fine balance between giving viewers enough information to create an unnerving atmosphere and explaining everything to the point that there is no tension. The shorter runtime allows each story to be the simplest version of itself. It offers plenty of good scares without delving into unnecessary exposition.
The anthology format allows each installment to showcase directors who would become well-regarded filmmakers on a bigger scale. The alumni of V/H/S include Ti West, who directed and wrote X and Pearl this year, and Adam Wingard, who drew acclaim for You’re Next and The Guest.
‘V/H/S/99’ makes significant changes to the format
V/H/S/99 is the fifth movie in the franchise. Segments come from a new crew of filmmakers: Maggie Levin (“Shredding”), Johannes Roberts (“Suicide Bid”), the musician Flying Lotus (“Ozzy’s Dungeon”), Tyler MacIntyre (“The Gawkers”), and Vanessa and Joseph Winter (“To Hell and Back”).
Like the preceding movies, it is an anthology of mini-movies. But V/H/S/99 differentiates itself by being the first to change how these stories are presented. The frame narratives that gave the other V/H/S films an overarching storyline are not present in V/H/S/99.
In its place are a series of interludes featuring stop-motion animations of toy soldiers engaging in their own activities like fighting plush toy kaiju and debating the psychological toll of war.
These segments still have some ties to the short films. They are ostensibly made by one of the characters in “The Gawkers.” The interludes are prime examples of the slight change in tone that defines V/H/S/99.
Early reviews deem this movie as a lesser addition to the ‘V/H/S’ franchise
Critics vary on the merits of V/H/S/99. It currently has a 71% rating on Rotten Tomatoes. But the reviews generally agree that this movie does not hit the heights of the previous in the franchise.
The main criticism of V/H/S/99: Some of the short films rely on tropes too often or simply aren’t very good. “Shredding” and “The Gawkers” draw the most ire. “Ozzy’s Dungeon,” a gory camp spin on “Legends of the Hidden Temple,” could delight or repulse depending on your preferences. If this movie has any highlights, then “Suicide Bid” and “To Hell and Back” are the ones worth watching.
Some critics did find value in the interludes of V/H/S/99. Dennis Harvey of Variety didn’t like the movie very much. But he did enjoy the “quirky charm” of the interludes and the movie’s general lo-fi aesthetic.
Harvey explained, “Creature prosthetics, makeup, CGI and other effects elements are decent in a film whose other principal design contributions are somewhat limited by having to hew to the conceit of hand-held videocam shooting.”
IGN‘s Matt Donato equated the interstitials to “someone [recording] snuff videos over cherished memories” and also appreciated the movie’s practical effects. He concludes:
“As a lover of midnight delinquency that tosses prosthetic body parts around and summons monster after monster straight out of a boardwalk horror maze? V/H/S/99 capitalizes on frenzied found-footage fun, howls with blitzkrieg chaos, and keeps exploding like a firecracker bundle that loves to watch you wince.”
Our reviewer Jeff Nelson was far less forgiving of 99’s faults, calling it “the franchise’s least scary installment yet, offering some fresh concepts, but poor execution.”
