DASHCAM Review | Movie – Empire

During her live impromptu music show, provocative musician Annie Hardy (Annie Hardy) steals a car from her friend Stretch (Amar Chadha-Patel) and embarks on a night of music and mayhem. But her already chaotic night takes a turn when she picks up the mysterious old lady Angela (Angela Enahoro) and stumbles upon a hidden plot.

If there is something you should know about DASHCAMis this: yeah, he’s fucking with you. wild robberyBlumhouse’s second feature film, the first for Blumhouse, following the success of Zoom-seance super-sharp lockdown. Host – is imbued with the mischievous personality of an internet troll, designed to surprise, confuse, infuriate and entertain in equal measure. The other thing you need to know is that he’s brilliant, and Savage confirms that, and his co-writers and fellow producers confirm that. gemmahurley Y pastor jed – to be among the most exciting voices in British cinema, horror or otherwise.

Much of DASHCAMThe gleefully obnoxious tone comes from its central figure. Annie Hardy doesn’t just star in the movie, she practically is the movie. Playing an enhanced version of her already provocative self, the ex-Giant Drag musician’s creative output was instrumental in the film’s genesis. because just like Host perfectly mimicked the experience of a Zoom call, a realism that accentuated every expertly handled jolt, DASHCAM is presented as a live Periscope broadcast of Hardy’s real-life internet show ‘Band Car’, also known as ‘The Internet’s #1 Live Improvised Music Show Streamed From a Moving Vehicle’. Essentially, Hardy leads with a loose hip-hop beat playing from his keyboard, writing rude and nonsensical lyrics based on phrases his viewers write in the comments. Add the context of lockdown (the character version of Hardy is an outspoken anti-masker with a MAGA hat and no sense of personal boundaries) and squash it all into an occult horror movie, and you get DASHCAM.

DASHCAM

It’s a harder sell than Host, after. But as much as Annie the character is intentionally obnoxious for much of the runtime — she protests lockdowns, breaks into her old friend Stretch’s (Amar Chadha-Patel) flat, laughs as she refuses to mask up, too. it is frivolous, funny and captivatingly anarchic. . DASHCAM he dares you not to be entertained by his foul-mouthed ad libs (sample lyrics: “Lookin’ round for a butt buffet”) and eccentric wit (Annie eats a pickled “Covid egg” at the abandoned Beano Café). Even before the horror elements kick in, it’s oddly compelling to watch her cause daily carnage as she interacts with her followers. In true Periscope style, a continuous stream of chat in the bottom left offers ongoing commentary on events (keep an eye out for clues when the chaos begins), while reaction emojis float in from the bottom right, not only formally playful, but an exact imitation of real-life technology that makes everything completely believable.

It’s a movie that merrily doles out shakes like custard pies.

Savage doesn’t keep you waiting too long before kicking DASHCAM move up a gear and, as with Host, once it increases, it is relentless. When Annie finds herself in charge of a sick old lady (played by Angela Enahoro, pilates instructor turned debut actress extraordinaire), the film falls apart: prepare for broken limbs, decapitations and a constant stream. urine, shit, blood and vomit. Shot entirely on iPhone, there’s frenetic camerawork here as Annie and Stretch frantically fight for their lives, but Savage shows remarkable control in the chaos: the adrenaline rush is real, the downloads are perfectly timed, the necessary information is relayed seamlessly. effective. He even seeps a bit of genuine warmth into Annie and Stretch’s love-hate friendship, shown in glimpses between immolations and demonic levitations. It is a miraculous balancing act.

Right now, though, you’re probably having too much fun (or too busy cowering at tense pieces) to notice the care in the craft. Especially raucous when seen with an audience, DASHCAM delivers a kinetic blast of mind-blowing punk, sam raimi-esque cinematic energy, playing as an unholy amalgamation of evil dead ii, The Blair Witch Project Y Jackass: The Movie. It’s a film that gleefully delivers shakes like custard pies, with all the blunt impact of a can of Fanta to the face. Come to the end of its snappy 77-minute runtime (actually 65 minutes, minus her unmissable, oh-my-god-did-Annie-actually-just-said-that-about-jason blumBreast? credits), you’ll feel like you’ve been spun in a centrifuge. In a good way. Bring your own seatbelt and fasten it securely.

It’s not for everyone, and it should be more divisive than Host, but Rob Savage, Gemma Hurley and Jed Shepherd have done it again. Gather several friends and get ready for a chaotic journey.

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