The story of a trio of bros attempting to trick a woman into appearing in an amateur porn video, only to find that she’s something other than human, it has a certain misanthropic joie de vivre that is largely lost in its extended 2016 adaptation Siren. Of the segments that follow, the most praise over the years has been directed at “Amateur Night,” the story from David Bruckner, who has since gone on to produce the likes of The Ritual, The Night House and the upcoming Hellraiser reboot.
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No other entry in the series has provided such a simple and effective wraparound story as an excuse for why we’re about to indulge in a series of WTF found footage nuggets, and each director is subsequently given their own moment to shine. This is a quality common to all the subsequent V/H/S sequels to some extent, but the equity between offerings is noticeably most pronounced in the original installment, and least so in V/H/S/94, which seems to be built almost entirely around one extra-long chapter in the form of Timo Tjahjanto’s “The Subject.” Almost a decade ago, on the other hand, the original benefited heavily from the more naturalistic framing device of Adam Wingard’s “Tape 56,” in which a gang of prowlers break into a dilapidated house, only to find a corpse and a pile of VHS cassettes. In the process, it spawned its own fresh wave of imitators-always the sign of a horror film that has squarely hit its mark. But even in the midst of a flood of samey-looking found footage horror, 2012’s V/H/S immediately stood out at the time for the way it fused a modern style of presentation with one of the genre’s most august traditions, the anthology film. Since the time of The Blair Witch Project, but especially in the years since the first Paranormal Activity became an overnight sensation, the found footage format has been a powerful gimmick for indie horror filmmakers in particular, resulting in films both genuinely scary ( Grave Encounters, Gonjiam: Haunted Asylum) and atrocious (.uh, Atrocious) in their ineptitude. The recent premiere of V/H/S/94 on Shudder has once again called attention to two of the driving forces of the horror genre in the last two decades: Found footage and anthology movies. With many heavy hitters out of the way, which movies will we choose? The only criteria: The films chosen can’t have been used in 2019’s Century of Terror, a 100-day project to choose the best horror film of every year from 1920-2019, nor last year’s first ABCs of Horror project. Paste’s ABCs of Horror 2 is a 26-day project that highlights some of our favorite horror films from each letter of the alphabet.