Who Took Riley Brennan?: Shelby Oaks (2025) Review

The long-awaited debut feature from YouTuber turned filmmaker Chris Stuckmann premiered today at Fantastic Fest. Before the screening, Stuckmann shared just how lengthy and personal the journey was, from an idea he and his wife first developed years ago to the film audiences finally saw today.

In Shelby Oaks, Mia (Camille Sullivan) is desperate for answers. Her sister Riley (Sarah Durn) and her friends, known online as the Paranormal Paranoids, vanished while investigating the eerie, abandoned town of Shelby Oaks. Convinced her sister is still alive, Mia follows a trail of unsettling video clues in hopes of uncovering the truth. 

Stuckmann takes a unique approach to storytelling by blending cinematic style with elements of found footage. The shifts between more polished filmmaking methods and raw, handheld moments give the movie an uneasy rhythm that works in its favor. By pulling in home videos, online clips, and more traditional sequences, Shelby Oaks blurs the line of reality, building tension in ways that feel both familiar and fresh.

The film also benefits from its use of practical effects, which ground the horror in a way that feels unsettling. The use of shadows, sounds, and subtle visual tricks build an atmosphere of dread. Stuckmann leans into the suspense, letting the tension simmer rather than rushing toward cheap jump scares. The result is a creeping sense of unease that lingers even in quiet moments, making the eventual bursts of horror hit that much harder.

Shelby Oaks may not reinvent the genre, but it shows Stuckmann’s eye for atmosphere and his willingness to experiment with form. The mix of found footage and cinematic framing gives the story a distinct identity, and the mystery at its core keeps the tension alive. It’s a strong debut that suggests Stuckmann has more to say as a filmmaker and leaves us curious to see where he goes next.

Rating: ⭐⭐⭐.5/5

Note: This film was reviewed during Fantastic Fest 2025 and will hit theaters in October 7, 2025.

More Fantastic Fest Coverage