I had a personal reason for wanting to see Shelby Oaks succeed. I’ve been watching Chris Stuckmann’s YouTube videos since 2012, and his channel inspired me to start my own in 2017. So, seeing his feature directorial debut come to life was exciting—and I’m happy to say that Shelby Oaks is objectively good and genuinely interesting. There are a few flaws to nitpick, but the overarching story is haunting, creepy, and engaging.

The film begins with an immediate hook: Mia Brennan (Camille Sullivan) is desperately searching for her missing sister Riley (Sarah Durn), who vanished years ago while investigating the mysterious abandoned town of Shelby Oaks. What Mia eventually discovers about her sister’s fate is truly disturbing—something that’s best experienced unspoiled.

Stuckmann wears his influences on his sleeve, with Rosemary’s Baby and Hereditary clearly informing the unsettling tone and eerie slow-burn dread. There’s a particular ritual scene that might make the hairs on your arm stand up—a chilling centerpiece that cements Shelby Oaks as a memorable supernatural mystery.

Not everything lands perfectly. Some of the visual effects could’ve used more polish. There’s one shot of a prison exterior that looks embarrassingly fake, and a few driving scenes don’t blend well. Even the dogs with glowing eyes veer into obvious CGI. But if you can look past those moments, you’ll find a tight and focused story that respects your time. While online listings say it runs 1 hour and 42 minutes, the film actually finishes around the 1-hour-25 mark—lean, effective, and never overstaying its welcome.

Camille Sullivan gives an excellent performance, grounding the film with raw emotion. Her character is put through the wringer—emotionally and psychologically—and she sells every moment of fear and confusion.

Shelby Oaks isn’t a perfect debut, but it’s a strong one. It shows that Chris Stuckmann has the potential to be a compelling new voice in horror—one who clearly loves the genre and knows how to unsettle an audience.