Twelve years ago, YouTuber Riley Brennan went missing. When, after a long dry spell, a seemingly related tragedy lands on the doorstep of her sister Mia, the rescue mission restarts in debutante director Chris Stuckmann’s Shelby Oaks. Chris Stuckmann is one of the biggest names in the emerging landscape of video-based film criticism that has exploded over the last five or so years. Many of these film commentators are content to exist in the reaction/analysis space, but Stuckmann has made it clear that his dream is creation, and that dream comes to fruition with his first feature, Shelby Oaks. Produced by the veteran indie champions at Paper Street Pictures (The Artifice Girl, Scare Package, Trim Season), Shelby Oaks is an ambitious film whose reach occasionally exceeds its grasp, but...
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