Mike Flanagan’s V/H/S Segment Is Best Of The Bunch

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Mike Flanagan's V/H/S Segment Is Best Of The Bunch

Key Takeaways

  • Flanagan excels at creating horror that defies genre limitations.
  • His V/H/S segment thrives by leaving a main character alive.
  • Flanagan’s horror in “Stowaway” terrifies viewers without relying on a high body count.

As a seasoned gamer and horror enthusiast with over two decades of experience under my belt, I can confidently say that Mike Flanagan has earned his title as the modern-day king of terror tales. His unique ability to transcend genre boundaries while crafting chilling narratives sets him apart from his peers.

Mike Flanagan’s recent achievements have made him a strong contender for the title of ‘Horror King’. This is not just because he excels in traditional horror themes, but also due to his versatility within the genre. He isn’t confined to any particular sub-genre; instead, he delves into ghost stories, innovative vampire tales, extraterrestrial abduction narratives, and even dabbles in body horror when necessary for a compelling storyline.

There be no greater sign of just how good Flanagan is at this stuff than being entrusted with not one but two Stephen King adaptations. But before he really got to work on those, he decided to pitch in to make a segment in the latest installment of the long-running V/H/S series. And he managed to do something so few directors ever do in the segments for the Anthology horror series. He left a main character alive. Granted, it’s likely that the character wasn’t thanking him for the kindness.

Mike Flanagan Shows His Mastery Of The Genre

In the latest installment of the V/H/S series, titled V/H/S Beyond, viewers can anticipate a similar pattern as before. However, this time, the focus shifts from traditional ghouls and spirits causing random mayhem to an ominous theme of alien invasions. The segments in this movie seem to grow increasingly terrifying with each passing scene.

However, Mike Flanagan demonstrates remarkable skill in striking the perfect chords, making his segment within the current horror anthology series stand out as the finest. This piece could even surpass all previous entries in the franchise due to its ability to adhere to the overarching objectives of the series while subtly challenging established norms.

In his approach, Flanagan has consistently followed certain guidelines but often defies the major ones. A notable exception is the rule-breaking seen in the “V/H/S” series, where each segment typically features a body count. However, in his latest horror production, there’s an abundance of frightening moments. Once more demonstrating his prowess for creating terrifying narratives, Flanagan’s segment “Stowaway” showcases his unique take on horror storytelling.

V/H/S Doesnt Need To Kill To Horrify

Mike Flanagan's V/H/S Segment Is Best Of The Bunch

In “Stowaway”, Alanah Pierce portrays a character who is persistently searching for extraterrestrial beings she suspects reside within the expansive American desert. After locating a spacecraft, she becomes ecstatic thinking her dreams have finally materialized. Given that this is a production under V/H/S, and Mike Flanagan has incorporated a female protagonist, it’s not surprising to anticipate a rapid turn of events leading to grim outcomes.

Naturally, given that this is V/H/S and Mike Flanagan has included a female character in the narrative, it’s quite predictable that things will take a grim and gory turn rather quickly.

Indeed, that’s what happens. Not long after the woman realizes that aliens are taking animals from Earth for experiments on their genetic material, an unanticipated event occurs – the very same ship she was in, ascends.

It turns out that sneaking onto an extraterrestrial spacecraft is not the best idea a person has ever had. Flanagan teaches that lesson with the same deftness that he once taught that it wasn’t wise to make a deal with Death, no matter how lucrative that deal appeared.

As a captivated admirer, I’ve discovered an intriguing aspect of this spaceship – it boasts a sophisticated healing mechanism that employs the DNA within its circuitry to mend injuries. However, this mechanism is primarily geared towards repairing the alien crew members, and it seems to overlook or misunderstand the needs of a human stowaway like myself. Flanagan masterfully spins a chilling tale in which survival isn’t the worst fate – instead, the terror lies in experiences far more harrowing than death itself.

After the aliens depart in their spacecraft, they accelerate into the cosmos due to their distant home planet. Unaware of her presence, they activate a hyperdrive that surpasses the speed of light. As this speed rips through her body with gruesome consequences, she emits agonizing screams.

In the heart of my gaming experience, nothing quite compares to the chilling reality I face when this machine breathes life into its creation, using DNA from the animals those aliens have abducted instead of human DNA. It’s a nightmare that doesn’t end with a single jump or warp speed. Oh no, it’s a series of gruesome transitions, each one leaving her unrecognizable, yet still conscious and grasping the sheer terror unfolding before her eyes. She pleads for release when the system refuses to let go, echoing my own desperate cries as I navigate this terrifying digital realm.

It’s a brilliant way to send the message that there are truly things worse than dying. It’s also a segment that has people wanting to look away like they normally don’t want to in a V/H/S movie and it’s yet another near-perfect Mike Flanagan production.

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2024-11-27 22:06