File 94 somewhere between the inspired, crowd-pleasing bloodshed of the second film and the series-low ineptitude of the third, V/H/S Viral.
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The resulting V/H/S/94 falls victim to the traditional unevenness that is common to anthology horror but with more hits than misses, and a general air of unhinged joy for the genre that these films often lack.
I suppose it doesn’t cohere into anything more than the sum of its parts. But this is the first time I’ve felt the anthology horror format really worked, and gosh, the parts are really good.
After nine years and four movies, it might be time to hit the “eject” button on the “V/H/S” series once and for all.
V/H/S/94 is a solid entry that provides the telltale thrills of gritty found-footage horror mired in '90s nostalgia, though it is flawed and uneven.
Overall, this is a fun way to spend 100 minutes or so, warts and all.
Even its weakest pieces are still entertaining, and the good stuff is exceptionally so.
Put simply, V/H/S/94 is almost less an anthology than it is a vehicle for a single, deliriously creative segment from director Timo Tjahjanto, which dominates the entire center of the film. All the other segments simply orbit this central anchor, caught in the inexorable pull of Tjahjanto’s demented imagination, which manages to give V/H/S/94 at least 30 minutes in which one cannot look away.
All five stories in V/H/S/94 feature a cult-like element, but only one of them feels like a true work of madness.