V/H/S/Mixtape Review: This Horror Anthology Hits All the Wrong Notes

V/H/S/Mixtape streams on Shudder beginning October 9, 2026.

A strong horror anthology is difficult to execute, especially when bringing in different filmmakers to tackle each segment. There’s always the risk of uneven quality. Realistically, some inconsistency is expected, but how uneven the final product becomes is the real question. The V/H/S series, which began with the original in 2012, seemed to crack the code. The formula was simple: bring in a handful of young, talented horror filmmakers and let them cook. The original V/H/S featured directors like Ti West, Adam Wingard, and Radio Silence, who would go on to find considerable success in the genre.

Unfortunately, the most recent entry in the V/H/S franchise (there are nine of these!) stalls the momentum built from 2024’s V/H/S/Beyond and last year’s V/H/S/Halloween. Despite a few good laughs, a couple of solid frights, and an interesting musical core concept, V/H/S/Mixtape isn’t worth rewinding or replaying.

V/H/S/Mixtape review

A still from Dance, Dance, Dance, Dance, a segment from V/H/S/Mixtape

The original concept of various VHS tapes being the source of the creepy stories has been abandoned, which is a shame because that concept makes the anthology aspect far more interesting. The retro, nostalgic element of an old-school VHS tape lends itself to the mysterious nature of the images depicted and their origin. With a title like V/H/S/Mixtape, it seemed like the ninth installment was poised to take that same nostalgia-fused route. Mixtapes are such an interesting artifact of a very specific time in recent history, but V/H/S/Mixtape never explores the concept that it takes its name from: a mixtape.

Music serves as the central horror theme connecting the segments. On their own, several of the segments work as standalone pieces of micro-entertainment. But as a whole, the experience feels scattered and misguided. My favorite entry is Dance, Dance, Dance, Dance, which features a children’s program with singing puppets reminiscent of those popular in the ’80s and ’90s. Of course, the seemingly happy and upbeat puppets hide a dark and violent secret. It’s silly, ridiculous, and exactly the type of entertainment you’d expect. Unfortunately, it’s the first segment, and things quickly begin to wobble.

Much of the blame falls on the framing narrative and the wraparound segment that holds the shorts together. In the original, that was a group of young people watching various VHS tapes that they’d found, growing increasingly frightened and confused by what they saw. Here, it’s GWAR (the American heavy metal rock band) performing a variety of unrelated skits involving semen and farts.

Admittedly, the GWAR bits sometimes made me laugh, and their inclusion makes sense given the musical theme of the movie. But as a wraparound segment holding the anthology together, it feels entirely out of place and pointless. Additionally, the music is often mishandled and feels like an afterthought, rather than the driving force behind the horror and bloodshed. In the end, the film fails to make strong use of its musical themes and is weighed down by a weak wraparound segment and uneven execution.

Is V/H/S/Mixtape worth watching?

A scene from V/H/S/Mixtape, coming to Shudder

As a horror aficionado and a fan of the V/H/S franchise, I’ll always be excited to watch the next entry. I’ll be right there on opening day for V/H/S: SCP next year. While V/H/S/Mixtape isn’t a movie I’m likely to revisit, it’s worth watching for fans of the genre, especially to see how the franchise has evolved over the years. Like any anthology, some segments are stronger than others, but unfortunately none of them are strong enough to turn the movie up to eleven.

V/H/S/Mixtape Review: This Horror Anthology Hits All the Wrong Notes