Whereas the V/H/S collection has explored sci-fi horror prior to now, the seventh entry—this week’s V/H/S/Past—places a selected give attention to the style, unspooling a nightmarish array of shut encounters, robotic terrors, and mad scientists. There are a couple of large names behind the segments this time round (Justin Lengthy, Kate Siegel, Mike Flanagan), however the standout moments—, those that make you gasp, scream, or really feel such as you’re gonna puke—are scattered evenly all through.

Not being tied to a selected yr means Past doesn’t need to be strict about its stage of know-how; there’s nonetheless shaky-cam and grainy VHS, however we additionally get some digital-age developments: cell telephones, home-security doorbells, a GoPro, YouTube movies, police physique cams, and the like. The body story, Jay Cheel’s “Abduction/Adduction,” is crafted like a “mysteries of the unknown” documentary you would possibly encounter whereas doing a little late-night scrolling, full with speaking heads and archival clips anchored round a central thriller involving aliens and (after all) mysterious video tapes.

The opposite segments embrace Jordan Downey’s “Stork,” a few rookie cop having a really unusual first evening along with his new unit; Virat Pal’s “Dream Woman,” which follows a paparazzi staff as they uncover greater than anticipated whereas stalking Bollywood’s hottest new star; Justin Martinez’s “Reside and Let Dive,” a cautionary story for would-be skydivers; Christian Lengthy and Justin Lengthy’s “Fur Infants,” about animal-rights activists decided to bust the proprietor of a doggie daycare; and Kate Siegel’s “Stowaway,” written by Mike Flanagan (The Haunting of Hill Home), a few troubled lady hoping to DIY her personal UFO doc.

One of many perpetual delights of the V/H/S collection—apart from its copious affection for gore and gross-out particular results—is its conceit that we’re watching probably the most thrilling components of no matter found-footage tape is subsequent within the queue. There’s not a lot time for context or exposition; after a fast dose of suspense (we all know one thing terrible goes to occur; that is V/H/S, in any case), all hell breaks free. Hardly ever has this set-up been so completely deployed than it’s in “Reside and Let Dive,” which greater than makes good on its killer premise each within the air and on the bottom. “Dream Woman” can be an interesting entry; not solely is it the primary V/H/S phase made in India, it incorporates a full-on Bollywood musical quantity, seen from the perspective of the set-crashing photographers.

It’s not typically that V/H/S films are singled out for his or her performances—many of the performing tends to be of the operating and screaming selection—however Past has a few notables, together with Alanah Pearce because the awkward filmmaker in “Stowaway,” and particularly Libby Letlow in “Fur Infants,” whose pup-obsessed Becky has uncanny echoes of Annie Wilkes in Distress.

If total V/H/S/Past isn’t fairly the very best of the franchise—final yr’s V/H/S/85 remains to be my prime decide, although V/H/S/2 is an in depth second—it’s total a stable entry, and proof but once more that there’s nonetheless an alarming quantity of inventive vitality to be mined from dirty, grotesque video clips. Convey on the subsequent one!

V/H/S/Past hits Shudder October 4.

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