Horror has always thrived on transforming everyday technology into something terrifying. In director Brandon Christensen’s supernatural thriller “Bodycam”, the source of fear is literally strapped to the characters’ chests. The film unfolds entirely through police body-camera footage, placing viewers inside a tense, real-time nightmare where every decision—and every mistake—is recorded on tape.
The story follows two police officers responding to what appears to be a routine domestic disturbance. Within moments, the situation spirals into tragedy. A fatal shooting occurs, panic ensues, and the officers make a decision that will haunt them for the rest of the night: they attempt to cover it up. Unfortunately for them, their body cameras have recorded everything. What initially feels like a moral dilemma soon becomes something far stranger as the officers begin to suspect that forces beyond their control may be closing in.
Christensen fully embraces the body-cam format, which gives the film an immediacy that traditional horror often struggles to achieve. Instead of polished cinematography, viewers are presented with shaky angles, dim hallways, and half-seen shapes in the darkness. This effect is unsettling because it feels authentic—the camera isn’t trying to scare you; it’s simply documenting events as they unfold.
Jaime M. Callica anchors the film as Officer Jackson, delivering a performance that balances authority with quiet desperation. Opposite him, Sean Rogerson plays Officer Bryce with a nervous energy that intensifies as the night progresses. Their dynamic works because the film never allows them to escape the consequences of their choices; every step forward only deepens the hole they have dug for themselves.
The film’s title may remind some viewers of the same-titled2020 supernatural thriller of the same name starring Mary J. Blige. While both films utilize police body cameras as a narrative device, Christensen’s film takes a different approach. Blige’s film leaned into social commentary and revenge-driven ghost story elements, whereas this version focuses more on tension, paranoia, and the unsettling feeling that the officers may not be alone.
At just over 75 minutes long, the film moves quickly and rarely pauses to explain itself. This concise runtime works to its advantage, maintaining tight tension and keeping the story on track. The limited perspective can occasionally restrict character depth, but it also heightens the claustrophobic atmosphere.
In the end, “Bodycam” is a small horror film with a clever concept and just enough supernatural menace to keep audiences on edge. It may not redefine the genre, but it demonstrates that even a simple camera—and the truth it captures—can be terrifying.
Final Grade: B
“Bodycam” is streaming on Shudder now.
For this week’s Second Listen Sunday, I want to revisit 2004 and highlight Romeo’s debut solo album, formerly of Immature. Titled “Food for Thought” and released on June 22nd, this project marked the singer’s change of name to Young Rome in an effort to distance himself from the youthful sound of his group, much like his bandmate Marques Houston had done a year earlier.
In the nineties, Hip-Hop reigned supreme, and every label CEO wanted a share of the lucrative R&B market. One strategy was to keep singers on their roster who could deliver catchy hooks, keeping everything in-house and saving money. Bad Boy had Carl Thomas, Death Row had Danny Boy, and Roc-A-Fella had Rell, our featured artist for this week’s Slow Jam Saturday
Growing up in the eighties, I was surrounded by incredibly talented male R&B singers who could deliver unforgettable love songs. Artists like Luther Vandross, Jeffrey Osborne, and Peabo Bryson dominated the airwaves, but Freddie Jackson was another voice that truly deserved recognition.