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Shelby Oaks

  • Writer: Gus Keller
    Gus Keller
  • 35 minutes ago
  • 1 min read
ree

Shelby Oaks is all premise. Preoccupied with exposition plus plot cliches, it never develops drama beyond initial motivations. As a result, characters are generic tropes, rendering the story broad and thin. With no internal conflicts, there are no arcs. Its intense, vulnerable, and code-switching performances eventually feel one-note due to one-dimensional roles. The mystery becomes shallow because the detective work is incidental as well as contrived. Its dialogue is often cheesy. Though it entertains themes like sensationalism or groupthink, they aren't actually unpacked. Altogether, Shelby Oaks is missing the emotional depth required to land its intended payoff.


While frequently unoriginal, Shelby Oaks' technical elements build a tense atmosphere. The cinematography lacks color but offers impactful uses of lighting. A mockumentary hook, concise runtime, and suspenseful pacing enhance its editing. Despite overdone moments, the sound successfully utilizes split cuts, offscreens, smash cuts, emphasis, and genre components. Although unsettling, its music is forgettable. The production design conveys dilapidated locations in the Midwest, yet can't conceal its low budget. Its cast has no fame. The effects combine solid makeup with some overextended CGI. In conclusion, Shelby Oaks exhibits sporadic promise but mostly feels average.


Writing: 3/10

Direction: 5/10

Cinematography: 7/10

Acting: 7/10

Editing: 7/10

Sound: 7/10

Score/Soundtrack: 6/10

Production Design: 5/10

Casting: 4/10

Effects: 6/10


Overall Score: 5.7/10


 
 
 

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