A Spooky But Mixed Bag - Sophisticated Bitch

I love a good self-contained thriller. So, Bruce Goodison’s new film Black Cab, which is primarily set in the back of a taxi, stood out to me from the moment it came onto my radar. Furthering my excitement, the picture stars Nick Frost (Shaun of the Dead). I had high expectations going in. But I came away viewing the film as a mixed bag. Frost’s performance is excellent, and the film’s themes of regret and parental bonds are explored to some degree of success. However, the pacing drags and the narrative is often convoluted.

What is Black Cab about?

The flick follows volatile couple Anne (Synnøve Karlsen) and Patrick (Luke Norris) as they hail a cab following an awkward dinner with friends. Their driver, Ian (Nick Frost), picks them up and initially seems friendly and well-meaning. But the longer the couple sits in the back of his vehicle, the more convinced they become something is seriously wrong. Ian has an agenda and neither Anne nor Patrick is safe until he gets what he wants from them. What ensues is a meandering, surreal ride down an allegedly haunted stretch of road.

The film’s core setup has a level of promise. It tackles some heavy themes and features some very committed performances by both Frost and Karlsen. But the messaging seems muddled. I understand that director Bruce Goodison and screenwriter Virginia Gilbert set out to speak to the perils of parenthood, the unbreakable bond between a parent and a child, and the regrets parents carry around with them. But things never quite congealed for me. It comes across as if there are several competing messages, rather than a singular theme that runs throughout.

Who are we cheering for here?

I also felt very much like I was without someone to root for. There is a screenwriting ‘law’ that says you have to give the audience someone to invest in. While that’s not a hard and fast rule, if you don’t give that to your viewer, you need to provide them with another reason to stick around. Both Anne and Patrick are underdeveloped and rather hard to warm up to. I kept waiting for the film to make up for that elsewhere, but I came away underwhelmed. Especially considering that the pacing meanders for the first hour.

A feature can succeed without a relatable cast if it is executed effectively and delivers a strong message. Take Requiem for a Dream, for instance. In the case of Requiem, the film is setting out to showcase the destructive power of drugs, more so than endear us to its troubled cast. The picture succeeds remarkably well in that core conceit, thanks to immersive performances and assured direction by Darren Aronofsky. What’s missing from Black Cab is that extra component to keep the viewer tethered in the absence of relatable characters. If the messaging had been a little stronger, a bit clearer, that might have served as the missing piece.

Nick Frost steals the show.

Misgivings aside, I really enjoyed Nick Frost as Ian. He’s written as a very unpredictable antagonist. Frost plays the part of a proper maniac with ease. It’s a departure from the roles for which he is best known. But he makes it look easy. There’s still a remnant of his typical nice guy roles, at least for a while. Those remnants of humanity lead to several moments of pitch-black comedy. Even as Ian is committing unspeakable acts, there is a level of deeply ingrained politeness that he can’t quite shake. He’s threatening Anne and Patrick, but doing it with a chipper tone and a hint of a smile. It’s hard not to chuckle at the absurdity of that juxtaposition.

Frost truly demonstrates a prowess for villainous roles here. It’s evident that he understands the assignment. Like he’s flipping a switch, the actor gradually becomes properly terrifying, eventually leaving his nice guy tendencies behind entirely. He’s physically imposing, and unpredictable, and eventually reaches the point of being almost unrecognizable. Definitely a great showing from an actor far more versatile than he’s given credit for.

On the whole:

Black Cab is a film that gets enough right to warrant a watch. But it’s certainly not essential cinema. If the pacing issues were rectified and the themes came together more clearly, I might have had a great time with this one. As it stands, I don’t regret watching it, but I am in no hurry to revisit Black Cab.