V/H/S/99

There is an appealing directness to V/H/S/99. It knows it is a horror film, understands the expectations attached to that label, and then looks for small ways to give the material its own voice. Directed by Flying Lotus and Maggie Levin, it leans on Jesse LaTourette and Keanush Tafreshi to give the material a human centre. At story level, Witness, hellish and vision shape the central setup, but the later turns are best left for the film to reveal.

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The horror works best through atmosphere rather than constant noise. Careful pauses, uneasy framing and the suggestion of danger create more tension than the obvious shocks, and the cast sells the fear by treating the situation seriously. There is a worthwhile film here, although it arrives unevenly. The stronger passages show real personality, but momentum fades whenever the script reaches for the most obvious beat. The cast keeps things watchable even when the structure begins to show its seams.

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Performance wise, Jesse LaTourette provides the most dependable anchor, bringing focus to the film whenever the plot threatens to become mechanical. Keanush Tafreshi offers a useful contrast in energy, and Dashiell Derrickson helps widen the emotional range of the ensemble. The acting is not equally subtle in every scene, but the group understands the required tone and rarely appears to be performing in different films.

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Thematically, V/H/S/99 is interested in fear as a response to lost control, isolation and the suspicion that familiar spaces can no longer be trusted. The scares carry more weight when they grow from those pressures, turning atmosphere into an extension of character rather than a separate attraction. The film is most persuasive when these ideas emerge from behaviour rather than speeches. That additional layer gives the story more purpose than a sequence of familiar genre beats, even if every implication is not explored with equal depth.

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The filmmaking supports suspense through limitation. Framing withholds useful information, the edit stretches moments without stopping them, and sound often points toward a threat before the image confirms it. These choices are familiar, yet they are applied with enough discipline to keep the viewer alert to space, silence and the possibility of a sudden change.

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The main problem is that the film keeps signalling effects it has not fully earned. Emotional turns arrive before the relationships have enough texture, while the pacing alternates between hurry and drift. The result is watchable, but frustratingly close to being better.

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I wanted V/H/S/99 to come together more decisively. Its better moments make it worth considering for horror viewers who value mood, tension and committed performances over nonstop jump scares, but the weaknesses prevent a wholehearted recommendation.