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Documentary filmmakers Jo (Charlotte Curwood) and Kyle (Tom Ware) are basically embedded filmmakers with a small squad of policeman on their way to a meat processing plant somewhere deep in the woods where cases of violence have been reported - and to the surprise of all, they find the plant completely empty of personnel, but scouting the area, they find horribly mutilated human corpses, and eventually run into a man that reacts in such a wild rage that he has to be put down. Even more worrying is that there are more people with violent tendencies roaming the area, so much so that our motley crew commandeers the first house they find as their temporary police headquarters. And soon, too, the house is surrounded by an enraged mob with zombie-like tendencies. Our heroes' first suspicion is rabies, but then they find a medical worker (Michael Swatton) in the building that explains the true source of whatever those outside are infected with - and it has to do with a gouvernment experiment to stop population growth. What's worse is, those in power see the results of the experiment as success ...

Now I won't lie, I'm not the biggest fan of found footage movies, as more often than not they're just filmmaking shortcuts and despite their claims to "realism" detract from the cinematic experience by an over-reliance on (often badly) improvised dialogue and shaky camerawork. That said, C.A.M. is certainly one of the better examples of this mode of filmmaking as it's actually well-edited, features a musical score (not a given in found footage) that supports the film's emotions, and also holds things together with a wraparound story that's a relief from the (admittedly often) shaky camerawork. Besides, the film tells a rather compelling story of the zombie variety (though the infected are identified as something other than zombies), and one can't but commend the movie enough for the social commentary that eventually seeps in during the second half. So in all, a pretty good (if at times a bit too shaky) piece of genre cinema.

review © by Mike Haberfelner

 

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