I'll say no more about the plot, except that it involves a coin-operated fortune-teller, a toothbrush swished in a toilet, and a twist-ending you definitely won't see coming.
The episode I'd have no trouble with being cut is I Sell the Dead director Glenn Mc Quaid's Tuesday the 17th, an unsuccessful homage to Friday the 13th and the campy slasher-stalking-kids-in-the-woods sub-genre.
Of the two girls they dupe into coming with them, one passes out on the bed almost immediately, while the other, Lily (Hannah Fierman), is a bizarre, leering creature I use the word intentionallywith enormous black eyes and a strange scar on her forehead.
The guys are too drunk to notice how odd she is, untilof courseit's too late, with sexy-times quickly turning into bloody penile- dismemberment-times.
V/H/S closes out with 10/31/98, directed by the filmmaking collective Radio Silencemade up of Matt Bettinelli-Olpin, Tyler Gillett, Justin Martinez, and Chad Villellaknown for their Choose-Your-Own-Adventure-style online shorts.
Theirs is the most special effects-heavy segment, following four friendsone wearing a "nanny cam" teddy bear costumewho are planning to attend a Halloween party at a stranger's house.
All hell breaks loose, with cult members sucked up through the ceiling, windows disappearing, and all manner of poltergeist-y paranormal activity, none of which is frightening, much lessconsidering the low-budget nature of the effects workparticularly convincing.
Suffice it to say that Lily isn't quite who/what she seems to be.
There are two distinctly terrifying images in the segment, but I feel this is a poor choice as the lead-off, simply because the characters are so unremittingly unlikeablecackling, misogynistic, all-around awful human beingsthat it sets an uncomfortable initial tone.
While the other shorts try to shock us as quickly as possible, Second Honeymoon ratchets the tension slowly, setting up the couple's superficially happy relationship before introducing the horror.
At one small-town hotel, a strange woman knocks on Sam and Stephanie's door, asking them for a ride the next morning.