THE ASYLUM TAPES; GRAYSTONE
The venture into the abandoned hospital and in particular asylum that is haunted (or features lurking killers) has become so prolific in horror that it can be considered a cliche see also the Found Footage likes of Haunted Changi (2010), The Sanatorium (2010) and Grave Encounters (2011) and a host of other non-Found Footage efforts such as Doom Asylum (1987), House on Haunted Hill (1999), Killer Instinct (2000), Dark Asylum (2001), Session 9 (2001), Hell Asylum (2002), Boo (2005), The Devils Chair (2006), Deadgirl (2008), Dont Look in the Cellar (2008), Room 33 (2009), House of Dust (2013), Paranormal Asylum (2013), Backmask/Exeter (2015) and Cain Hill (2017).
Greystone Park is Found Footage but Sean Stone also plays with the form in different ways to most other directors in the field. One thing he does is to break the image up far more than other Found Footage films do the shots are much more edited than usual and often interrupted by subliminal flashes of nightmare images. This starts to become undeniably effective as the trio head in to the asylum and we start to see shapes and shadows that might be something lurking in the backgrounds of shots or flitting across doorways. These are presented in momentary glimpses not long enough to register more than the suggestion of something there and so brief that you think you might be imagining them. This keeps you constantly watching the periphery of the frame for things. And some of the jumps do end up effectively jangling ones nerves.
On the other hand, the Found Footage genre has become such an overused field that Greystone Park is at best traipsing its way around well-worn conventions and visual cliches. All of the plot moves have been used before. By the time of the climactic devil worship scenes where the subliminal flickering takes over the screen to suggest a distressed state of mind, the effect starts to become overwrought. The final shot of the film looks schlocky.