V/H/S/Beyond (Blu-ray) | Review | Not Perfect, But A Bloody Good Time

"V/H/S/Beyond", released in 2024 as the seventh installment in the V/H/S horror anthology series, takes the franchise into a sci-fi-inspired direction while retaining it's signature found-footage style. This time, the overarching theme revolves around extraterrestrial encounters and the unknown, with six bloodcurdling shorts that explore horror from "beyond" Earth. Here's a breakdown of what works, what doesn't, and whether it lives up to the series' legacy.

The anthology kicks off with a wraparound segment, "Abductuion/Adduction", directed by Jay Cheel, styled as a faux documentary featuring talking heads like Mike Horowitz and the Corridor Digital crew. It sets the tone by questioning the existence of alien life, grounding the film in a speculative mood. While not as narrative-driven as some past wraparounds, it effectively primes you for the sci-fi horror to come.

The first proper segment, "Stork" by Jordan Downey, is a standout. It follows a police raid on a house linked to missing babies, captured via bodycam footage. What starts as a tense cop drama explodes into a chaotic, gory battle with monstrous creatures, including a bizarre alien stork. The action feels like a first-person shooter game, and the creature design is freaky and memorable. It's fast-paced and delivers on visceral thrills, though some might find the constant scoring a bit overbearing.

Next up is, "Dream Girl", directed by Virat Pal, which brings a fresh flavor with it's Bollywood-inspired setting. Two paparazzi sneak onto a film set to catch a superstar, Tara, only to uncover the shocking secret in her trailer. The segment opens with a vibrant dance number, but it's horror climax, a gory twist involving Tara's true nature, feels a tad predictable. Still, the cultural shift and Pal's eye for visuals make it a unique addition.

"Live and Let Dive", directed by Justin Martinez, Takes a wild premise about skydivers encountering a UFO mid-jump, and runs with it. The Aerial chaos is exhilarating, with impressive digital effects like a skydiver bleeding out in freefall. Once they crash into an orange grove, the segment shifts into a survival chase against spindly aliens. It's a highlight for it's creativity and gore, though the shaky camerawork might test some viewers' tolerance. 

"Fur Babies", from brothers Christian and Justin Long, veers off the alien theme into bizarre territory. Animal rights activists infiltrate a doggy daycare run by the unhinged Becky, leading to grotesque, "Tusk-like" body horror. It's the anthology's oddball, with dark humor and standout practical effects, but it's disconnect from the sci-fi focus and overly broad satire might leave it as the weakest link for some. 

Finally, "Stowaway", Kate Siegel's directorial debut with a script by Mike Flanagan, closes the film on a haunting note. Alanah Pearce plays Halley, A woman obsessed with documenting UFOs in the Mojave Desert, who gets more than she bargained for aboard an alien aircraft. It's slower and more meditative, focusing on longing and cosmic dread rather than cheap scares. The visuals are striking, but the murky climax might frustrate those wanting clearer resolution.

Overall "V/H/S/Beyond" is one of the stronger entries in the franchise. It's sci-fi pivot feels fresh, and the higher production values, especially in effects, elevate the experience. The segments vary in quality, as anthologies do, but there's no outright dud; even "Fur Babies" has it's quirky charm. Standouts like "Stork" and "Live and Let Dive" deliver the gore and adrenaline fans crave, while "Stowaway" adds unexpected emotional depth. At nearly two hours, it could trim some fat as most segments overstay their welcome by a few minutes, but it's a thrilling ride for sci-fi and horror buffs. If you've enjoyed past V/H/S films, this one's a worthy addition, proving the series has plenty of tape left to unwind. I'd give it a solid "7.5/10", not perfect, but a bloody good time.