Good Setup, Uneven Execution, Mixed Results

Read Time:4 Minute, 42 Second

MOVIE REVIEW
Black Cab
–

Genre: Horror, Thriller
Year Released: 2024
Runtime: 1h 28m
Director(s): Bruce Goodison
Writer(s): Virginia Gilbert
Cast: Nick Frost, Synnøve Karlsen, Luke Norris, George Bukhari, Tessa Parr
Where to Watch: It will be available on Blu-ray, DVD, and digital on April 7, 2025, courtesy of Acorn Media International. Order here: www.amazon.co.uk

RAVING REVIEW: Sometimes, the simplest premises lead to the most memorable scares—a late-night taxi ride gone wrong is exactly the kind of nightmare scenario that sparks the imagination. BLACK CAB, directed by Bruce Goodison, attempts to turn everyday anxiety into a chilling supernatural thriller. On paper, it's exactly the unsettling setup that audiences love: a bickering couple, Anne and Patrick, find themselves trapped in a cab whose driver has sinister motives. Unfortunately, this intriguing concept struggles to live up to its promise, leaving viewers more confused than genuinely frightened.

If there’s one thing the film does right, it’s casting Nick Frost as Ian, the cabbie with ulterior motives. Known primarily for comedic roles, Frost seizes the chance to flex his dramatic muscles here. He begins as your typical chatty driver—someone you might enjoy exchanging pleasantries with—before transitioning into something darker. Frost’s ability to shift between approachable and sinister elevates the film’s uneven script, offering a few standout moments where viewers genuinely question what's about to unfold.

Playing opposite Frost, Synnøve Karlsen delivers a believable portrayal of Anne, caught in a tough situation. Karlsen gives a convincing performance, balancing emotional vulnerability and a growing sense of desperation. She is trapped not only in the back seat of this taxi but also in a relationship weighed down by emotional manipulation. However, the script does Karlsen a disservice by limiting her character’s development; she remains reactive throughout most of the film, rarely empowered to take action, leaving audiences frustrated rather than sympathetic.

Luke Norris portrays Anne’s domineering boyfriend, Patrick. Norris successfully embodies the abrasive character that viewers immediately distrust, adding friction to the uneasy atmosphere. Yet Patrick’s character suffers from a lack of depth; he serves primarily as an initial source of tension, but his motivations and background are shallow, making it hard to invest emotionally in his part of the narrative.

BLACK CAB does manage to build an effective atmosphere through its visual style. Cinematographer Adam Etherington deserves credit for creating a confined, eerie feeling within the vehicle, heightening the claustrophobia of being stuck on a lonely road with a stranger whose motives are unclear. Moody lighting, rain-soaked streets, and isolated stretches of road enhance the film’s mood, setting a visually appealing stage for psychological drama.

Where BLACK CAB falls short, however, is in blending its real-world anxieties with supernatural horror elements. The filmmakers introduce ghostly lore—specifically, a spectral woman haunting a lonely stretch of road—which feels out of sync with the more grounded thriller aspects initially established. Rather than amplifying tension, these supernatural elements disrupt the film’s flow, creating an uneven experience.

Similarly, the film struggles with pacing, alternating between stretches of introspective dialogue and moments designed solely to shock viewers. This inconsistency prevents tension from building smoothly. Instead of carefully cultivating suspense, the film relies too heavily on jump scares and sudden loud noises, undermining any genuine fear it might have otherwise achieved.

Another missed opportunity is the film’s failure to offer meaningful character backstories. Anne and Patrick’s relationship troubles set the emotional tone, but there's insufficient exploration of their pasts to create empathy or emotional investment.

Ultimately, BLACK CAB is a film that teases audiences with potential but stumbles in execution. It offers occasional glimpses of excellence—Frost’s shift from amiable to menacing and the effective claustrophobic visuals—but these moments aren’t enough to overcome the muddled narrative, superficial characterizations, and uneven rhythm. It’s the type of movie you might pick on a lazy evening when browsing streaming platforms, though it probably won’t stay with you much after you’ve turned off your screen.

The filmmakers had ambitious ideas but couldn’t quite assemble them into a coherent narrative. BLACK CAB has the bones of a compelling thriller. Still, without better character development, clearer thematic execution, and a tighter grasp on its genre-blending attempts, it remains neutral, idling rather than accelerating towards true horror.

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[photo courtesy of SHUDDER]

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