Dashcam is a 2021 American-British horror film depicting a nightmare car journey as recorded by the titular optical device.
Directed by Rob Savage (The Boogeyman) from a screenplay co-written with Gemma Hurley and Jed Shepherd (Host).
The Shadowhouse Films production stars Annie Hardy, Amar Chadha-Patel, Jemma Moore and Angela Enahoro.
In the US, Dashcam was released theatrically and On-Demand (VOD) by Momentum Pictures on June 3, 2022.
“That Annie inspires repulsion is the point, but it doesn’t do Dashcam any favors either. If you can get past one of horror’s most grating characters in recent memory and a constant barrage of shaky cam, there’s a gem of a splatstick horror movie buried somewhere within. For many, though, it’ll likely earn an unfollow.” Bloody Disgusting
” …the budget is used for barely visible explosions and an excess of slime […] This bullish mess left a gross taste in my mouth at a level Annie’s pickled “COVID” egg could only aspire to. Last year’s Host made genre fans throw their warmth at the young filmmakers who gave us community via a scary movie. Dashcam should kick them out of horror’s warm embrace.” CGM Backlot
“If you’re expecting the same creepiness that Savage delivered by creating Zoom-session horror in Host, you will be disappointed. Dashcam is undeniably a crazy ride filled with gore and repugnance, but the unsatisfying ending detracts from the film’s overall reception, and the main character playing someone close to her real-life self is neither funny, nor entertaining.” Daily Dead
“With an Evil Dead energy and a lead performance inspired by Bruce Campbell’s Ash, Dashcam‘s video game appeal uses VFX trickery and fearless improv to create an experience akin to a wild ride at an abandoned theme park. It’s also a reminder that the horror genre can confront individuals that may not hold the same beliefs as the audience and actually celebrate that difference.” Dread Central
“The abundance of gore and shock moments will probably be enough for midnight audiences […] but the entire experience is frustrating because I know Savage and company can do so much better. Host was something truly special, while Dashcam is the type of experience you regret. As social commentary, it’s weak. As a comedy, it’s unfunny. As a horror movie, it’s not very scary.” /Film
” …as entertaining as its back half is, the abrasive stabs at cultural commentary from the establishing act make this journey to that point a bit of a slog. There’s also the issue of the live stream format, which feels incidental with the use of elliptical jump cuts and the feed losing connection for long stretches of time. What remains is a mixed bag, part entertaining and part annoying…” The Film Stage
“Savage’s script (co-written by Gemma Hurley and Jed Shepherd) is solid and accurately reflects how modern edgelords like her behave even in the worst of circumstances, but Annie is ultimately too edgy and selfish for the audience to root for. A film can have all the scares and gore possible, but does it really matter if it lacks a compelling protagonist?” Little White Lies
” …it makes me wonder if the film’s sole purpose was to be offensive. If yes, what does that say about the promising director of Host? I went into the movie expecting terror but instead felt discomfort. What Rob Savage gave us here is a Karen film with monsters. Dashcam is a Karen TikTok that goes on forever, and you watch hoping Karen winds up on her @ss.” Nightmarish Conjurings
” …Savage’s film is so dominated by this Gorgon persona [Annie Hardy], it can’t help feeling like an overextended comedy sketch. Where “Host” was short and sweet (as well as frightening), over-the-top “Dashcam” feels longer than the bare 66 minutes it logs pre-final credits. It’s a clever stunt — still, not so clever that it can’t wear out its welcome.” Variety
“Dashcam actually doesn’t seem to have much of a point to make. It’s a mean little joke of a horror movie, one where the worst people seem to live longest and endure no consequences, and if that’s what Dashcam has to say about life itself then fair enough, but it’s not presented with cleverness or pointed satire. Savage’s film just keeps digging a hole and somehow it never reaches any depth.” The Wrap
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