Nick Frost is primarily known as a comedic actor, especially in movies such as “Shawn of the Dead” and “Hot Fuzz.”
In “Black Cab,” he takes a completely different turn.
Patrick (Luke Norris) and Ann (Synnove Karlsen) are at dinner with friends when Patrick abruptly announces they are engaged to be married. Ann is embarrassed and a scene follows, because she’s been considering breaking up with the abusive Patrick. The scene continues onto the sidewalk where a London “black cab” pulls up.
Getting in, Patrick orders the cab driver, Ian (Nick Frost), to just drive around. Meanwhile, the pair continues arguing in the back seat. At one point, Ian threatens to kick Patrick out of the cab, but things cool and Ian begins a jovial patter, claiming they are “all friends now.” Patrick sulks.
Nick Frost brings a fascinating interpretation to his character, and while not the principal screen writer, he is credited with adding material to the script. He beautifully and unexpectedly alternates between a friendly down to earth English cabbie, and a brutal, threatening being who has kidnapped Anne and Patrick for some unknown reason. And even when threatening his captives with death, there are still the nuances that tell us we’re watching a regular guy who has for some reason gone bad.
And there is a plausible reason – at least within the confines of a horror story, but you’ll have to see the film yourself to find out. I’ll hint that it is a twist that makes Frost’s character even more – and less – human.
Most of the film takes place within the cab, at night in the rain, with light coming in through fogged windows. Claustrophobic. Further, the alternating jovial and menacing cabbie is in the front seat, visible through the plexiglass dividing front from back. Yet, it works. The threat of violence – even death – is palpable, in between the discussions of family and relationships.
Eventually, the rationale for the kidnapping of the couple begins to appear, along with an unearthly spirit tied to “the most haunted road in England.” Along with that, comes the startling denoument that changes the lives of all involved.
Director Bruce Goodison (“Leave to Remain”) has given us excellent performances from Frost and Karlsen. While Norris is present most of the way through, his part is small and undistinguished compared to the principals. As for the writing, Virginia Gilbert (“Reawakening”) give us a fascinating, if slow-paced yarn, with excellent lines for Frost.
My biggest complaint is the music – once again, as in so many “thrillers” it serves more to irritate the listener than to punctuate what we see on the screen.
Runtime: A slow-moving one hour and 28 minutes
Availability: Streaming on Shudder
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