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TIFF 2021: ‘Dashcam’ is a Challenging, Chaotic Thrill Ride

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Dashcam Rob Savage

Director Rob Savage is becoming a new master of horror. His films craft fear with a determined resolve; he builds tension, releases it with a light laugh, and pushes in on effective jump scares that — even when expected — are surprisingly rattling. With his first film, Host, Savage created an impressive screen life scare fest that was filmed entirely over Zoom during the great COVID-19 lockdown of 2020. His Blumhouse-produced follow-up, Dashcam, livestreams terror from the shadowy forests of England. 

Dashcam follows a caustic online streamer whose anarchic behavior triggers a non-stop nightmare. In the film, a freestyling dashcam dj named Annie (played by real-life musician Annie Hardy) leaves L.A. to seek a pandemic break in London, crashing at the flat of a friend and former bandmate, Stretch (Amar Chadha-Patel). Annie’s anti-liberal, vitriol-spewing, MAGA hat wielding attitude rubs Stretch’s girlfriend the wrong way (understandably), and her particular brand of chaos does her more harm than good. She nabs a vehicle and roams the streets of London, and is offered a wad of cash to transport a woman named Angela. She agrees, and thus begins her ordeal. 

Annie is a curious character. She’s both charismatic and obnoxious, quick-witted and closed-minded. Hardy’s performance walks this tightrope with a reckless energy; Annie (as a character) is — at times — horrendously unlikable. But there’s something about her that you just can’t stop watching. 

Evidently — as explained in a pre-viewing introduction from Savage — the film didn’t have a script (in the strict sense of written dialogue), so Annie’s lines of dialogue were mostly (if not entirely) improvised. While Hardy herself may hold some fringe beliefs, the Annie of Dashcam is an exaggerated version of herself. She rants about COVID being a scam, raves at “feminazis” and the BLM movement, and wreaks havoc on a shop after she’s asked to wear a mask. She’s… kind of terrible. 

It’s an interesting and bold choice, putting the film in the hands of a character that’s objectively terrible. It helps that Annie is quite sharp, and a talented musician with an art for explicit on-the-spot lyricism. We catch some glimpses of this through the film, but it’s when Hardy freestyles through the end credits that we really see her in her element. Interestingly enough, Band Car — the show Annie from her vehicle — is actually a real show on Happs with over 14k followers. This, in fact, is how Savage found her. He was drawn in by her unique charisma and spontaneous wit, and thought it would be brilliant to throw a version of this into a horrific scenario. 

When it comes to Annie as a character, she is a hyperbolized version of a particular sociopolitical set of beliefs, and she will certainly cause some division in attitudes towards the film. But if there’s any genre that allows divisive characters to take the lead, it’s horror.

Dashcam is probably best seen on a smaller screen, or at least from the back few rows of a large one. The camerawork is often shaky — very shaky — and the third act of the film devolves into some of the most frantic, erratic camerawork I’ve seen. Despite the title, the camera often leaves the dash. Annie runs, crawls, and crashes with camera in hand, and it can be challenging to figure out what exactly is going on. 

A major downside is the fact that much of the film is difficult to watch, due to the overly shaky camerawork. If it had stuck with the dashcam idea — a la Spree — it would have been easier to follow, but it also would have lost much of the manic spark that fuels the film’s fire. 

One element that I appreciated that I know will frustrate some viewers is that the events are rather… undefined. We don’t really know what’s happening or why. In defense of the puzzling plot, it allows a lot of flexibility and adds a strange level of reality to the events. 

If you’re thrust into a terrifying situation, what are the odds that you’re going to stumble upon some audio recording that details and explains all the events you’ve witnessed? Or that you’ll take time to skim through a newly discovered book or article, or question a witness with intimate knowledge of what’s happening? It’s not likely, is what I’m saying. In some ways, it’s this confusion and ambiguity that makes the unreality more real. 

There are some excellent moments of over-the-shoulder shots that are truly chilling and excellent in creating an effective scare. Savage does love a good jump scare, but the emphasis is on good here. He knows what he’s doing, and he pulls them off well.

While Host showed an at-home intimacy, Dashcam stretches its legs a bit more by going out into the world and exploring multiple locations, each creepier than the last. With the support of genre giant producer Jason Blum, Savage flexes bigger, bloodier effects that are a far cry from the humble Host-era lockdown do-it-yourself fare. With this being the first of a three-picture deal with Blumhouse, I’m curious to see what he comes up with next as the world opens up a bit more. 

Dashcam won’t appeal to everyone. No film does. But Savage’s pedal-to-the-metal attitude towards horror is exciting to watch. As Dashcam picks up speed, it totally flies off the rails and escalates to pure chaotic fear. It’s a more ambitious film with a divisive protagonist and open-ended horror, and it’s bound to turn some heads. The question is, how many heads will turn away. 

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Panic Fest 2024 Review: ‘Haunted Ulster Live’

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Everything old is new again.

On Halloween 1998, the local news of Northern Ireland decide to do a special live report from an allegedly haunted house in Belfast. Hosted by local personality Gerry Burns (Mark Claney) and popular children’s presenter Michelle Kelly (Aimee Richardson) they intend to look at the supernatural forces disturbing the current family living there. With legends and folklore abound, is there an actual spirit curse in the building or something far more insidious at work?

Presented as a series of found footage from a long forgotten broadcast, Haunted Ulster Live follows similar formats and premises as Ghostwatch and The WNUF Halloween Special with a news crew investigating the supernatural for big ratings only to get in over their heads. And while the plot has certainly been done before, director Dominic O’Neill’s 90’s set tale of local access horror manages to stand out on its own ghastly feet. The dynamic between Gerry and Michelle is most prominent, with him being an experienced broadcaster who thinks this production is beneath him and Michelle being fresh blood who is considerably annoyed at being presented as costumed eye candy. This builds as the events within and around the domicile becomes too much to ignore as anything less than the real deal.

The cast of characters is rounded out by the McKillen family who have been dealing with the haunting for some time and how it’s had an effect on them. Experts are brought in to help explain the situation including the paranormal investigator Robert (Dave Fleming) and the psychic Sarah (Antoinette Morelli) who bring their own perspectives and angles to the haunting. A long and colorful history is established about the house, with Robert discussing how it used to be the site of an ancient ceremonial stone, the center of leylines, and how it was possibly possessed by the ghost of a former owner named Mr. Newell. And local legends abound about a nefarious spirit named Blackfoot Jack that would leave trails of dark footprints in his wake. It’s a fun twist having multiple potential explanations for the site’s strange occurrences instead of one end-all be-all source. Especially as the events unfold and the investigators try to discover the truth.

At its 79 minute timelength, and the encompassing broadcast, it’s a bit of a slow burn as the characters and lore is established. Between some news interruptions and behind the scenes footage, the action is mostly focused on Gerry and Michelle and the build up to their actual encounters with forces beyond their comprehension. I will give kudos that it went places I didn’t expect, leading to a surprisingly poignant and spiritually horrifying third act.

So, while Haunted Ulster Live isn’t exactly trendsetting, it definitely follows in the footsteps of similar found footage and broadcast horror films to walk its own path. Making for an entertaining and compact piece of mockumentary. If you’re a fan of the sub-genres, Haunted Ulster Live is well worth a watch.

3 eyes out of 5
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Panic Fest 2024 Review: ‘Never Hike Alone 2’

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There are fewer icons more recognizable than the slasher. Freddy Krueger. Michael Myers. Victor Crowley. Notorious killers who always seem to come back for more no matter how many times they are slain or their franchises seemingly put to a final chapter or nightmare. And so it seems that even some legal disputes cannot stop one of the most memorable movie murderers of all: Jason Voorhees!

Following the events of the first Never Hike Alone, outdoorsman and YouTuber Kyle McLeod (Drew Leighty) has been hospitalized after his encounter with the long thought dead Jason Voorhees, saved by perhaps the hockey masked killer’s greatest adversary Tommy Jarvis (Thom Mathews) who now currently works as an EMT around Crystal Lake. Still haunted by Jason, Tommy Jarvis struggles to find a sense of stability and this latest encounter is pushing him to end the reign of Voorhees once and for all…

Never Hike Alone made a splash online as a well shot and thoughtful fan film continuation of the classic slasher franchise that was built up with the snowbound follow up Never Hike In The Snow and now climaxing with this direct sequel. It’s not only an incredible Friday The 13th love letter, but a well thought out and entertaining epilogue of sorts to the infamous ‘Tommy Jarvis Trilogy’ from within the franchise that encapsulated Friday The 13th Part IV: The Final Chapter, Friday The 13th Part V: A New Beginning, and Friday The 13th Part VI: Jason Lives. Even getting some of the original cast back as their characters to continue the tale! Thom Mathews being the most prominent as Tommy Jarvis, but with other series casting like Vincent Guastaferro returning as now Sheriff Rick Cologne and still having a bone to pick with Jarvis and the mess around Jason Voorhees. Even featuring some Friday The 13th alumni like Part III‘s Larry Zerner as the mayor of Crystal Lake!

On top of that, the movie delivers on kills and action. Taking turns that some of the previous fils never got the chance to deliver on. Most prominently, Jason Voorhees going on a rampage through Crystal Lake proper when he slices his way through a hospital! Creating a nice throughline of the mythology of Friday The 13th, Tommy Jarvis and the cast’s trauma, and Jason doing what he does best in the most cinematically gory ways possible.

The Never Hike Alone films from Womp Stomp Films and Vincente DiSanti are a testament to the fanbase of Friday The 13th and the still enduring popularity of those films and of Jason Voorhees. And while officially, no new movie in the franchise is on the horizon for the foreseeable future, at the very least there is some comfort knowing fans are willing to go to these lengths to fill the void.

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Panic Fest 2024 Review: ‘The Ceremony Is About To Begin’

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People will look for answers and belonging in the darkest places and the darkest people. The Osiris Collective is a commune predicated upon ancient Egyptian theology and was run by the mysterious Father Osiris. The group boasted dozens of members, each forgoing their old lives for one held in the Egyptian themed land owned by Osiris in Northern California. But the good times take a turn for the worst when in 2018, an upstart member of the collective named Anubis (Chad Westbrook Hinds) reports Osiris disappearing while mountain climbing and declaring himself the new leader. A schism ensued with many members leaving the cult under Anubis’ unhinged leadership. A documentary is being made by a young man named Keith (John Laird) whose fixation with The Osiris Collective stems from his girlfriend Maddy leaving him for the group several years ago. When Keith gets invited to document the commune by Anubis himself, he decides to investigate, only to get wrapped up in horrors he couldn’t even imagine…

The Ceremony Is About To Begin is the latest genre twisting horror film from Red Snow‘s Sean Nichols Lynch. This time tackling cultist horror along with a mockumentary style and the Egyptian mythology theme for the cherry on top. I was a big fan of Red Snow‘s subversiveness of the vampire romance sub-genre and was excited to see what this take would bring. While the movie has some interesting ideas and a decent tension between the meek Keith and the erratic Anubis, it just doesn’t exactly thread everything together in a succinct fashion.

The story begins with a true crime documentary style interviewing former members of The Osiris Collective and sets-up what led the cult to where it is now. This aspect of the storyline, especially Keith’s own personal interest in the cult, made it an interesting plotline. But aside from some clips later on, it doesn’t play as much a factor. The focus is largely on the dynamic between Anubis and Keith, which is toxic to put it lightly. Interestingly, Chad Westbrook Hinds and John Lairds are both credited as writers on The Ceremony Is About To Begin and definitely feel like they’re putting their all into these characters. Anubis is the very definition of a cult leader. Charismatic, philosophical, whimsical, and threateningly dangerous at the drop of a hat.

Yet strangely, the commune is deserted of all cult members. Creating a ghost town that only amps up the danger as Keith documents Anubis’ alleged utopia. A lot of the back and forth between them drags at times as they struggle for control and Anubis keeps continuing to convince Keith to stick around despite the threatening situation. This does lead to a pretty fun and bloody finale that fully leans into mummy horror.

Overall, despite meandering and having a bit of a slow pace, The ceremony Is About To Begin is a fairly entertaining cult, found footage, and mummy horror hybrid. If you want mummies, it delivers on mummies!

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