Anyone who saw Host during lockdown will have been damn excited to see DASHCAM.
Rob Savage exploded onto the horror movie scene with his hour long, super low budget but highly effective slice of Zoom-based terror which dropped right at the apex of Covid-19 paranoia and fear, mid-2020, as the world watched, waited and worried. Host was ragged around the edges but enormously creepy and played a set of new beats on the now well played tune that is found footage horror. It brought that fear into not just the computer screen but the home in an even more acute way than Unfriended or Friend Request etc… films with a bigger budget playing with that intersection between the online and the unfathomable.
DASHCAM is an altogether different beast. Though deliberately still lo-fi, Savage is graced with a bolstered budget thanks to a three picture deal with modern horror maestro production house Blumhouse and a transatlantic approach and appeal, not to mention a fusion of fiction and hyper-reality. Fronted by Annie Hardy, playing a firebrand version of herself—albeit not too dissimilar by all accounts to her actual persona—DASHCAM feels less about trying to scare and designed more to throw audiences into a frenzied world of relentless chaos, in which technology allows voyeuristic patrons the chance to watch true carnage unfold in real time.
To his credit, Savage doesn’t try and repeat the trick of Host with DASHCAM. He just decides to go completely off the leash.Continue reading “DASHCAM is the gonzo found footage horror satire to end them all (Film Review)”