Opiniones de Metacritic

Equal parts confounding, challenging, and insanely fun, “Dashcam” is horror at its most inventive.

If you’ve ever watched a slasher movie and rooted for the killer, you’re ready for Dashcam, a found-footage horror movie whose COVID-denying protagonist is the scariest thing about it.

Once again, the director and his co-writers Gemma Hurley and Jed Shepherd have made the absolute most of the minimal tools at their disposal, wringing a surprisingly robust hybrid of intense chase thriller, splatter film, and absurdist horror comedy out of a shoestring budget. However, DASHCAM is a lot more uneven than Host despite the superior production values, but they do combine to form what might end up going down in the history books as pandemic horror’s premiere double-feature.

A mixed bag, part entertaining and part annoying with a whole lot of gusto behind it.

At the end of the day, “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 result is at once fun and fatiguing. Scary it’s not, and many viewers will find their patience tested by the character they most hope will be dealt a quick demise being the one we’re principally stuck with.

You have to hope that Hardy is not this annoying in real life, because by the time Dashcam’s supernatural menace reveals itself, you’re firmly on Team Blood-Spewing-Zombie. Maybe that’s the point. It’s hard to tell.

While Nilsson’s instincts for making Dashcam an updated, new-tech “Blow Up” were good, his execution isn’t. Dashcam is a dry, slow and dull 80 minutes of a loner TV news editor stumbling into evidence that proves a Big Conspiracy behind the death of a famous politician.

Even if you loved Host, skip Dashcam, Rob Savage’s provocative but woefully shallow, ugly, and cruel follow-up.

As social commentary, it's weak. As a comedy, it's unfunny. As a horror movie, it's not very scary.