Black Cab (2024) - Film Review

      **Black Cab, 2024.**

      Directed by Bruce Goodison.

      Featuring Nick Frost, Synnøve Karlsen, George Bukhari, Luke Norris, Tessa Parr, and Tilly Woodward.

      **SYNOPSIS:**

      Anne (Karlsen) and Patrick (Bukhari), a couple, are going through a tumultuous phase in their relationship. After a tense night out, they hail a black cab, only to confront horrific visions along a haunted road, driven by a cab driver (Frost) with sinister motives...

      From the very beginning of this low-budget British horror film, viewers are treated to a few mild jump scares and sensory assaults – both visual and auditory – setting a spooky tone. However, this eerie atmosphere quickly dissipates as we delve into the rather bland and strained dynamic between Anne and Patrick. There’s no clear reason for it, but neither character is particularly likable at first; however, it becomes evident that we are supposed to empathize more with Anne, portrayed by the fragile Synnøve Karlsen. Patrick’s irritating demeanor, conversation style, and bullying presence make him hard to root for. Thus, spending 85 minutes with this couple feels disheartening! The supporting characters are similarly superficial.

      Karlsen attempts to add depth to her role by suggesting the small cracks and uncertainties that arise in a tense relationship. She is depicted as caught in a world she wishes to escape but can’t find the means to do so, leaving the audience guessing about her intentions and motivations. This scenario could have lent itself to a thoughtful exploration in a psychological drama, but once the black cab appears, it shifts direction. "I feel like something bad's gonna happen," Karlsen whispers before entering the cab, as if she’s already aware of what’s in store.

      Enter Nick Frost, taking the unlikable couple in his black cab with automatic locking doors and tinted windows. Given Frost’s history of charming roles in films like *Shaun of the Dead*, *The World’s End*, and *Fighting With My Family*, it’s difficult not to feel a sense of familiarity with him, akin to the friendly cabbie you wouldn’t mind sharing a ride with. His instant dislike for Patrick and his controlling nature toward Anne heightens the tension between them, revealing hidden truths as the journey progresses.

      However, Frost’s ability to push his acting range quickly turns the ride uneasy, as his more menacing, intimidating side begins to surface. Equipped with an A-Z map and a taser, Frost leads an unforgettable cab ride. The film’s primary attraction is his performance, which initially presents a lovable persona but rapidly shifts to something more sinister. He skillfully portrays the unhinged cabbie with a blend of chilling intensity and dark humor, dropping hints regarding his true motivations.

      Set amidst the quiet roads of London and transitioning into the eerie countryside at night, the film’s locations contribute to a pervasive sense of claustrophobia and gloom. Tight camera angles, both inside and outside the cab, immerse the viewer in the experience and compel engagement, much like effective single-location narratives do.

      Unfortunately, the broader story feels disjointed. While it begins with a suggestion of horror, it transitions into a survival thriller, combining two concepts in a way that feels confused about its identity. Ultimately, it leans more towards a character-driven psychological thriller than horror – those scattered horror elements could have been excluded without detracting from the overall impact.

      Not the most memorable film, but it functions on a different level than initially advertised. Rather than a horror film, it portrays a kidnapping/survival thriller. With chilling moments, some muddled aspects, and lacking overall shocks, the narrative is primarily anchored by the unpredictable and sinister presence of Frost, who excels beyond just comedic roles.

      **Flickering Myth Rating – Film: ★ ★  / Movie: ★ ★**

      *Chris Gelderd*