V/H/S/Beyond gives the found-footage anthology series a science-fiction frame, with shorts about alien encounters, a Bollywood star rumored to be a witch, and a UFO chaser in the Mojave. The shift creates room for distinct settings and kinds of spectacle, but it does not make every segment equally effective: some have a strong hook or comic edge, while the wraparound and parts of the writing feel more familiar. It is best suited to viewers who enjoy short, stylistically varied horror stories and can tolerate an uneven anthology.
What is V/H/S/Beyond?
Released on Shudder on October 4, 2024, V/H/S/Beyond is a 114-minute found-footage horror anthology with a science-fiction direction. AMC’s announcement described it as six new tapes set in a “sci-fi-inspired hellscape.” Its six parts are “Stork,” “Fur Babies,” “Live and Let Dive,” “Dream Girl,” “Stowaway,” and the Jay Cheel special presentation that frames the anthology, “Abduction/Adduction.” AMC’s release announcement names the segments and their credited filmmakers.
The science-fiction element is more than a single connecting plot: individual stories bring it into different found-footage setups, from a paranormal-response team entering a house to a desert UFO pursuit. That variety is the film’s clearest departure from a collection built around one uniform kind of threat. It also means the shorts vary in tone and impact rather than developing into one sustained narrative.
How do the segments use the sci-fi premise?
“Stork”
A paranormal-response SWAT team enters a house and encounters an avian-like alien threat. The setup gives the segment room for creature effects and action, but the concept alone does not guarantee a fully distinctive story. In her Guardian review, Leslie Felperin saw it as an opportunity for in-camera and special effects.
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“Dream Girl”
Directed by Virat Pal, this segment moves to a Mumbai Bollywood production, where a star is rumored to be a witch. Its setting and entertainment-industry premise distinguish it from the more familiar isolated-house and expedition scenarios. Felperin grouped it with “Live and Let Dive” as one of the shorts that helps the film pick up pace.
“Live and Let Dive”
A POV camera records a birthday skydiving trip until an encounter disrupts it. The camera’s limited viewpoint fits the found-footage format naturally: the viewer sees the event through the people caught in it. The trade-off is that a restricted perspective can make action harder to follow, a recurring tension in this style of horror.
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“Fur Babies”
Directed by the Long brothers, “Fur Babies” follows animal-rights protesters who infiltrate the home of a dog daycare owner. Its premise lets comedy and horror sit closer together than in some of the other shorts. Felperin singled it out as a tongue-in-cheek standout, making it the clearest example in her review of the anthology’s ability to use an outlandish setup for more than creature imagery.
“Stowaway”
Directed by Kate Siegel and written by Mike Flanagan, “Stowaway” follows a UFO chaser in the Mojave Desert. Siegel told ComingSoon that directing it was “hugely daunting” and “terrifying”; performer Alanah Pearce said the segments feel different because they come from different directors. Those comments speak to the film’s varied creative approaches, not to how successful each short is. Felperin found “Stowaway” less persuasive in its writing.
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“Abduction/Adduction”
Jay Cheel’s mockumentary-style framing story connects the tapes. For viewers who want a single thread to deepen or bind the shorts, this is a weak point: Felperin called it a “haunted house snoozer.” Its format offers a contrast with the segments’ first-person setups, but the review’s criticism suggests the connection does not provide a strong enough payoff to offset the interruption.
Does the anthology make its horror feel new?
It makes the series’ science-fiction direction visible through settings, threats, and camera situations that differ from short to short. But a new category of monster is not automatically a new kind of story. The more effective examples, as reflected in Felperin’s review, pair a recognizable hook with a distinct tone: “Fur Babies” leans into dark comedy, while “Dream Girl” and “Live and Let Dive” help restore momentum. Other sections rely more heavily on familiar horror beats or do not develop their ideas as persuasively.
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The found-footage approach remains both a tool and a constraint. POV cameras and mock-documentary presentation make the shorts feel like captured incidents; restricted sightlines can also obscure action or leave a story feeling like a sketch. Because the film moves among different filmmakers and premises, the results vary. The sci-fi umbrella gives the package a shared direction, but not a consistent level of suspense, clarity, or payoff.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Is V/H/S/Beyond worth watching?
For viewers who like anthology horror, short runtimes, and markedly different found-footage styles, it offers enough variety to make its science-fiction turn worthwhile. “Fur Babies” is the most clearly praised standout in Felperin’s review, and the contrasting concepts of “Dream Girl” and “Live and Let Dive” give the collection range. Viewers who need a compelling frame story or a consistently satisfying finish to every segment may find the experience frustrating.
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That is a critical judgment, not a settled consensus. Rotten Tomatoes showed a 90% Tomatometer from 61 critic reviews and a 54% Popcornmeter from more than 250 audience ratings when accessed in 2026; those scores are changing snapshots, not fixed measures of quality. The page’s Critics Consensus is broadly positive about the franchise’s energy and mix of shorts, while it also displays a negative Variety excerpt describing the segments as familiar and unmemorable. The split fits an anthology whose variety is both its main appeal and the source of its unevenness. Rotten Tomatoes’ listing provides the genre, release date, runtime, scores, and reception excerpts.
Release details and where to check availability
- Original premiere: Shudder, October 4, 2024; AMC’s announcement also said the programming was available on AMC+ at release.
- Runtime: 114 minutes, listed by Shudder; Rotten Tomatoes gives the equivalent as 1 hour 54 minutes.
- Rating: TV-MA on Shudder’s title listing.
The release announcement establishes where the film premiered, not where it is currently available in every country. Check Shudder or a local listing for present-day access in your region. Shudder’s title page lists the runtime and rating.
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