When V/H/S/2 hit screens in 2013, it emerged as a bold sequel to the original V/H/S, offering another dose of found-footage horror anthology goodness. Like its predecessor, V/H/S/2 thrives on its unique structure: a collection of shorts tied together by an overarching narrative, each directed by some of the most inventive voices in modern horror. With its mix of supernatural scares, visceral gore, and relentless tension, the film aimed to up the ante from the first installment. But does every segment deliver? Let’s revisit V/H/S/2, dissect its stories, and determine which segments truly shine and which fall short.
Before we dive into the segments, let’s discuss a little backstory. The first film achieved success both critically and financially. So naturally there was demand for a sequel. Similar to it’s predecessor, V/H/S/2 is an anthology film. Multiple directors were brought on board to create standalone short films. The shorts were connected by a wraparound story (“Tape 49”), directed by Simon Barrett. Notably the Director Lineup for this film is pretty stacked. It includes Gareth Evans, Jason Eisener, Eduardo Sánchez, Gregg Hale and Adam Wingard.
Each segment was designed in the found-footage format, which required meticulous planning to maintain the illusion of “real” footage. This included creative use of in-camera effects, low-budget practical effects, and clever editing. Many segments were shot quickly due to budget constraints. Each director pushed the boundaries of the found-footage format with unique ideas. “Phase I Clinical Trials” used POV footage from a cybernetic eye implant. “A Ride in the Park” uniquely incorporated a zombie outbreak through a GoPro camera worn by a biker. “Slumber Party Alien Abduction” delivered its chaos through the perspective of a dog-mounted camera.
Let’s explore the different segments. Directed by Simon Barrett, “Tape 49” serves as the wraparound story to the film. In it we follow two private investigators hired to locate a missing college student. Their search leads them to a house littered with televisions and VHS tapes, setting the stage for the segments that follow. While “Tape 49” sets up a creepy atmosphere, it ultimately feels underdeveloped compared to the standalone shorts. The investigators’ storyline lacks depth, and their motivations seem secondary to the premise of showcasing the tapes. However, it does provide some effectively eerie moments, particularly as the investigators watch the increasingly disturbing footage.It works but is probably the least memorable. Fun fact, the lead role was offered to James Rolfe aka the Angry Video Nerd. He declined because it would have coincided with his own film The Angry Video Game Nerd Movie.
First up is “Phase 1 Clinical Trials” It’s directed by Adam Wingard, and in this segment it explores the story of a man who receives a cybernetic eye implant after an accident. The implant allows him to see supernatural entities, plunging him into a nightmarish descent as he realizes these spirits are dangerously aware of his presence. “Phase I Clinical Trials” stands out for its strong premise and clever use of first-person perspective. Adam Winguard himself even stars in the film! The cybernetic eye serves as a natural justification for the found-footage aesthetic, and the segment effectively builds tension through its unsettling visuals. However, the story occasionally relies on clichés—the “haunted implant” trope feels like something we’ve seen before, albeit with a technological twist. In the end, it comes up slightly short of being a promising short film. Still, Wingard’s direction keeps the scares engaging, and the short’s brisk pacing works in its favor.
Next up is “A Ride in the Park” Directed by Eduardo Sánchez, the director of The Blair Witch Project, and Gregg Hale, this segment takes a unique approach to the zombie genre, placing the audience in the perspective of a cyclist who becomes infected during a casual ride in the woods. As he succumbs to the virus, the camera captures his transformation and the chaos that ensues. One of its most compelling aspects is the use of a GoPro camera mounted on the protagonist’s helmet. This first-person viewpoint immerses viewers in a visceral, unrelenting experience, capturing the chaos and brutality of a zombie outbreak from a perspective rarely explored in cinema. Another standout feature is the emotional complexity embedded in the carnage. Amidst the gore, there’s a moment of tragic introspection when Mike, now fully zombified, hears a voicemail from his fiancée expressing love and concern. This flicker of humanity contrasts starkly with the mindless violence he’s been carrying out, adding a layer of melancholy to the story. It humanizes the character even in his undead state, making his eventual suicide feel like a moment of redemption—a rare emotional beat in a genre often dominated by nihilism. Additionally, the segment’s pacing and tonal shifts make it memorable. It begins as a serene, almost idyllic day in the woods, lulling the audience into a false sense of security before plunging them into horror. The chaos of the zombie attack is laced with dark humor, especially when the camera captures absurdly gruesome moments, like a zombie clumsily stumbling with the GoPro or the irony of an idyllic picnic turning into a massacre. This balance of horror and humor keeps the segment dynamic and engaging.
“A Ride in the Park” is one of the most inventive entries in the anthology. By presenting the story through the eyes of the zombie, it provides a fresh perspective on a well-worn genre. The segment strikes a balance between dark humor and grisly horror, delivering some memorably grotesque moments (the zombie picnic is a standout). However, it leaves little room for deeper exploration, making it feel more like a clever concept than the nextgreat zombie apocalypse film it should be.
Directed by Timo Tjahjanto and Gareth Evans, “Safe Haven” follows a documentary crew investigating a mysterious Indonesian cult. What begins as a slow burn quickly escalates into a relentless barrage of terror as the crew uncovers the horrifying truth about the cult’s rituals. “Safe Haven” is often hailed as the crown jewel of V/H/S/2, and it’s easy to see why. It masterfully combines cult horror, supernatural chaos, and visceral gore into an intense and unforgettable experience. The story follows a documentary crew infiltrating a secluded Indonesian cult compound to interview its charismatic leader, referred to as “Father.” The narrative builds tension expertly, lulling viewers into unease with the creepy serenity of the compound and the devotion of its followers. Once the truth about the cult’s apocalyptic agenda is revealed, the story explodes into chaos, unleashing a relentless onslaught of blood, violence, and nightmarish imagery. The camerawork is frantic yet controlled, capturing the horrifying events in a way that feels immersive without becoming disorienting. The segment’s pacing is one of its greatest strengths, steadily ramping up dread before plunging headfirst into full-throttle terror. The tonal shift—from eerie investigative journalism to a hellish descent into otherworldly horror—is seamless and effective. The grotesque practical effects and unflinching gore amplify the horror, but the segment’s true power lies in its ability to evoke existential dread. The cult’s fanatical devotion and the apocalyptic demon-birth climax are horrifying not just for their physical brutality but for the sense of inescapable doom they convey. Evans and Tjahjanto also manage to inject brief moments of dark humor and absurdity—such as the unsettlingly cheery “Father” unleashing destruction—that give the chaos an unsettling edge. If there’s a critique, it’s that the sheer pace and intensity of the final act might feel overwhelming or excessive for some viewers. However, for fans of bold, high-octane horror, “Safe Haven” is a masterpiece of the genre, combining visceral thrills with a disturbing exploration of faith, fanaticism, and the macabre. It’s a tour de force that leaves an indelible mark. What else would you expect from Gareth Evans?
The final segment in the film is entitled “Slumber Party Alien Abduction”. Directed by Jason Eisener, this segment centers on a group of kids whose rowdy sleepover is interrupted by an alien invasion. Filmed primarily through a GoPro attached to a dog, the segment captures the chaotic terror of the children as they’re hunted by extraterrestrial beings. “Slumber Party Alien Abduction” is divisive among viewers, and for good reason. While it’s undeniably creative in its use of the GoPro and offers some genuinely frightening moments (the alien designs are effectively creepy), the segment’s frenetic pace and lack of character development make it difficult to fully invest in the story. The chaotic editing mirrors the disorienting experience of the characters, but it also detracts from the impact of the scares. Despite these shortcomings, the emotional gut punch at the end, we won’t spoil it for you, adds a layer we didn’t see coming that elevates the segment. One interesting fact about this is Jason Eisener would later expand the alien invasion concept into a feature-length film. In 2022, Eisener released Kids vs. Aliens, a movie that shares thematic and stylistic DNA with his V/H/S/2 short. Much like the segment, the film focuses on a group of kids fending off an extraterrestrial attack, but it dives deeper into the characters and narrative, blending coming-of-age elements with over-the-top sci-fi horror. The feature-length version allowed Eisener to explore the story’s potential more fully, particularly in its nostalgic nod to 1980s and 1990s genre films. This evolution from a short in an anthology to a standalone feature highlights how V/H/S/2 served as a creative launchpad for its directors to expand on their ideas in bold new ways.
V/H/S/2 was better received than its predecessor, with critics praising its improved production quality, innovative storytelling, and standout segments like “Safe Haven.” The film currently holds a Rotten Tomatoes score of 70%, reflecting its positive reception. Premiering at the Sundance Film Festival, it gained significant buzz, with festivals helping to showcase the film to both horror enthusiasts and critics, further solidifying its reputation as a must-watch anthology. Within the horror community, it quickly became a cult hit, appreciated for its bold approaches to the found-footage genre and its variety of scares. “Safe Haven,” in particular, is often cited as one of the best anthology shorts ever made. Most of the film’s success came through digital and home video platforms, where its anthology format and found-footage style made it accessible and binge-worthy for fans of innovative horror. Additionally, the inclusion of directors like Gareth Evans and the global settings of certain segments, like “Safe Haven,” gave the film broader international appeal, with horror fans worldwide praising its ambitious ideas and execution.
V/H/S/2 excels in its willingness to experiment with the found-footage format. Each segment takes a unique approach, ensuring a sense of variety and unpredictability. The anthology’s standout, “Safe Haven,” is a testament to the power of combining strong storytelling with unrelenting horror, while segments like “A Ride in the Park” and “Phase I Clinical Trials” showcase innovative uses of the found-footage aesthetic. The film also benefits from its high-energy pacing. Unlike the first V/H/S, which occasionally dragged, the sequel keeps the momentum going, making it a more consistently engaging experience and shorter run time.
While the anthology format allows for creative freedom, it also results in an uneven viewing experience. Segments like “Slumber Party Alien Abduction” and the frame narrative, “Tape 49,” feel undercooked compared to the stronger entries. Additionally, the reliance on gore and shock value can sometimes overshadow deeper thematic exploration, leaving certain segments feeling hollow.
V/H/S/2 is a rollercoaster of a horror anthology, offering both exhilarating highs and occasional lows. Its best segments—particularly “Safe Haven”—stand as some of the most effective uses of the found-footage format in modern horror, blending creativity, tension, and visceral scares. While not every entry hits the mark, the film’s ambition and willingness to push boundaries make it a worthy successor to the original V/H/S. For fans of the genre, V/H/S/2 is a must-watch, a chilling reminder of the potential of horror anthologies to surprise and terrify in equal measure.
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