V/H/S/Mixtape Review: The Horror Anthology Series Finds Its Groove [Beyond Fest 2026]

By this point, the "V/H/S" franchise has gained a reputation as a reliably entertaining horror anthology. As of the latest entry in the series, "V/H/S/Mixtape," the franchise boasts 9 films produced over the last 14 years. Essentially, "V/H/S" began as a way of combining a lo-fi, analog aesthetic with found footage. The films then became a great showcase for emerging indie horror filmmakers (folks that are now household genre names like Radio Silence and Adam Wingard got a big push from their "V/H/S" work), as well as veterans who sought to take advantage of the creative opportunities the series afforded. So while the franchise has always had a general sense of cohesion, the series was admittedly confused for many years about whether or not it had creative tissue connecting each entry, or if they were just free-for-all grab bags.

The first three films in the series attempted to establish a very, very loose mythology surrounding the various short horror films that comprise a "V/H/S" entry, implying they were cursed videotapes of some kind. When producer Josh Goldbloom and Shudder revived the franchise in 2021 with "V/H/S/94," the echoes of that mythos were still there, albeit faint. After the series enjoyed success by theming the next two entries around a particular year, the central theme became more defined with 2024's sci-fi "V/H/S/Beyond." Now, after last year's "Halloween" and this year's music-centric "Mixtape," Goldbloom has helped the series finally find a thematic groove as reliable as the series' positive reputation. So, while "V/H/S/Mixtape" may not be the best entry in the series, it's the one that feels like it has the best theme so far.

I'm of the opinion that there has yet to be a wholly bad "V/H/S" entry. That said, there's no doubt that even my favorite films in the series are uneven. What producer Josh Goldbloom and company have done with "Mixtape" is continue the winning streak they've been on with "Beyond" and "Halloween," giving the various filmmakers involved a theme that's broad enough to inspire variety but one that's more specific than just a random past year. The theme of "Mixtape" is music, and this results in segments which either involve a song, musical instruments, or explore other eerie aspects of sound.

The wraparound segment, directed by Flying Lotus and starring the spooky heavy metal band GWAR, is the franchise's most successful wraparound film in the way it naturally integrates the various short segments via a fictional vintage MTV-style program. It's still pretty loose, sure, but it helps the movie flow naturally, and the band's Troma-style gross-out humor is a far better choice for a "V/H/S" wraparound than something trying to build scares in chunks over the course of the feature. This wraparound leads to the inclusion of some original music videos, and the hiring of folks already familiar with the form (Flying Lotus, RZA, and the band Ghost's Tobias Forge) results in some fabulous work. Forge's awesome music video with his band Repugnant, "Premature Burial," feels like a death metal riff on controversial German filmmaker Jörg Buttgereit's work, which is an unexpected treat.

"V/H/S/Mixtape" is pretty much hitting the nail on the head with its titular theme, as sequencing an anthology movie is akin to making a mixtape. In both, the presentation is just as important as the art itself, for sometimes the right thing can come along at the wrong moment. That's unfortunately the case with "The Music of Mr. Sze," written and directed by legendary filmmaker Ernest Dickerson. Loosely based on a pair of H.P. Lovecraft short stories, "Mr. Sze" is a segment which takes its time building its premise and revealing its game. Sadly, the segment appears around the midpoint of the film, and feels a little deflating in its more deliberate pacing than if it had appeared at the beginning.

Conversely, David Moreau's "Heartbeat" is a little too bold in its presentation compared to the film around it. Shot with a unique lens and camera setup that feels like a combination of a selfie stick and a GoPro, the segment takes a lot of getting used to visually and rhythmically. This means that by the time you've gotten onto its wavelength and understand what is going on, the short is practically over. Another segment, Flying Lotus' animated music video "Another Cabin," also feels adrift within the film. These segments are still worthwhile individually, and their bumpiness is more a byproduct of the movie's anthology format, the revolving door of directors, and so on. So if there's one aspect where the "V/H/S" films can still improve, it's in keeping an eye on the the whole as much as possible.

Where "V/H/S/Mixtape" really shines is in its greatest segments, as they feel like the perfect result between overarching theme and the filmmakers' individual expression. Renee Zhan and Zoe Cooper's "Dance, Dance, Dance, Dance" includes work by Jim Henson's Creature Shop, marking one of the rare instances where the company's talents are utilized for a decidedly adult theme. As a result, this segment feels like the next word in kindertrauma horror after Casper Kelly's surprise hit, "Buddy."

Meanwhile, RZA and Matt Landsman's "Death Tone" is a nasty, clever little tale that boasts some impressively bizarre kills and practical effects. As with his earlier film this year, "One Spoon of Chocolate," RZA continues to demonstrate his innate understanding of exploitation cinema tropes while creating something that feels more unique than beholden to retro homage.

With "V/H/S/Mixtape," the series feels like it's finally found a comfortable groove for itself, blending its showcase of new and veteran filmmakers with a theme that's simultaneously unifying and malleable. This is why I have such trepidation about the 10th film in the series, which has been announced as some sort of collaboration with the previously unrelated fictional secret organization known as the SCP Foundation. Given that "Mixtape" can be seen as the third in a "trilogy," it feels like "V/H/S" might be revolving yet again with this next film, pivoting into new territory as it did before with "94" and then "Beyond." Hopefully, the recipe for success that's been found with "Mixtape" won't be forgotten on the next go round.

/Film Rating: 8 out of 10

"V/H/S/Mixtape" is streaming on Shudder beginning October 9, 2026.