Unhinged, insane, abrasive, and downright scary, Dashcam takes what director Rob Savage established in last year’s Host and injects it with unlimited adrenaline for one of the wildest cinematic rides in recent memory.
A polarizing musician and online personality (Annie Hardy) escapes the confines of the pandemic-stricken United States to surprise and upend the progressive lifestyle of a former bandmate (Amar Chad-Patel) in London, leading to a live-streamed night of horrors. Never have I ever despised a character as much as I did Annie Hardy’s, an exaggerated right wing nut without an ounce of maturity and a penchant for continuously spewing obnoxious dialogue. She becomes embroiled in a night of absurdity that never takes the foot off of the pedal with Savage throwing out everything he can in order to shock and frighten the audience, successfully so. Just when you think you’ve seen it all in Dashcam, another twist hits you and forces you to check your pants.
Dashcam is incredibly unconventional and really shouldn’t work as well as it does. Hardy’s character vacillates between viewers wanting to pray for the good of the world and sticking around simply to see if she becomes a casualty of the evening’s events. She works for the film, however, because she is a loud distraction from everything that Savage is about to throw at viewers, even through shoddy, authentic camerawork that doesn’t always allow you to see what is right in front of you. Dashcam is a terrifying blast.