Waxing, waning COVID restrictions continue to force filmmakers to develop workarounds if they want to work at all. While one can admire their enterprise, it would be fibbing to pretend most such efforts to date have been very interesting as art or entertainment, beyond the novelty of whatever conceptual gimmick allowed them to keep cast and locations to a segregated minimum.
Her heedless travel affords a bigger, more action-packed canvas here, albeit one still framed by a “found footage” gist — the film was shot by Savage and cast members on iPhones. That looser format brings mixed rewards, however, as “Dashcam” trades “Host’s” genuine creepiness for an in-ya-face hash of broad political satire, supernatural menace and near-incessant physical peril often rendered incoherent by the handheld camerawork. The result is at once fun and fatiguing.
Unsurprisingly, this self-caricature is also a flaming libertarian-style opponent of all policies imposed by COVID, which she rants is some kind of fake-news conspiracy anyway. Proclaiming she’s “running away from the f—ing madness of America,” she boards a flight at a near-empty LAX, landing in the London home of former collaborator El Stretcho .
“Dashcam” doesn’t explain what’s happened to Angela, let alone what has got hold of her or exactly what its powers are. But those powers are formidable, requiring deployment of VFX and stunt personnel. Together, those folk achieve some nice fantasy imagery within the film’s faux-live presentation.
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