The horror genre is marked by waves in popularity of different subgenres, and for a few years, found footage was by far the biggest craze. The huge success of 1999's The Blair Witch project led to a decade filled with fuzzy, hand-held, naturalistic shockers, from the grottiest no-budget films to Hollywood productions that jumped on the bandwagon. By the time the found footage anthology film V/H/S rolled around in 2012, the genre was on its last legs, with movies such as The Conjuring and The Witch set to dictate the direction of horror over the next decade.
Nevertheless, V/H/S was a surprisingly successful example of both found footage and anthology horror, with an impressive line-up of filmmakers (including Adam Wingard, Ti West, and David Buckner) delivering a quintet of effective creepy tales, unified by a convincingly rendered videotape aesthetic. Two sequels followed--the mostly-good V/H/S/2 in 2013 and the mostly-terrible V/H/S/Viral in 2014.
Seven years later, the fourth part arrives, which as the title suggests is set in 1994. The film kicks off with Jennifer Reeder's Holy Hell, the wraparound story in which an abrasive SWAT team raids a warehouse looking for drugs. What they find are numerous bodies and TV screens, playing the following four episodes. The first is Chloe Okuno's "Storm Drain," which follows a TV news reporter and cameraman as they venture down a gloomy drain to investigate the local legend of the terrifying "rat man." The second story, "The Wake" is written and directed by series regular Simon Barrett and focuses on a woman who has recently started working at a funeral home and must corpse-sit a coffin for a weirdly under-attended wake.
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