BLACK CAB -- Nick Frost Shines in an Otherwise Bumpy Ride

by Jonathan Berk

Ghost stories are often a mixed bag in the horror genre. Exceptional ones like The Others, The Devil’s Backbone, and The Changeling manage to evoke a sense of dread and foreboding that lingers long after the credits roll. There’s something about the inescapable nature of a ghost that taps into our primal fears. Director Bruce Goodison’s (Then Barbara Met Alan) new film, Black Cab, attempts to harness that haunting dread, but ultimately struggles to fully deliver.

Anne (Synnøve Karlsen) is having doubts about the future of her relationship with Patrick (Luke Norris). After a heated argument, the two find themselves in the back of a cab driven by a chatty driver (Nick Frost). What begins as a minor annoyance quickly shifts into terror, as they realize the driver is not at all what he initially seemed.

The film opens with a nightmare sequence in which Anne finds herself in a cab, pregnant, surrounded by a blood-red world. When she glimpses a ghost outside, it’s startling — but not quite what audiences might expect. The ghost’s design is awkward and unconvincing…and, unfortunately, this spectral entity becomes a recurring visual in the film.

The journey that Black Cab takes the audience on is bumpier than the old roads the characters drive down. There’s an allegory of sorts at the heart of it all, but much of the film doesn’t add up to a cohesive story. The jump scares are mostly predictable and marred by weak visual effects, and the setting remains limited to the cramped cab, with only a few occasional changes in scenery. Though it manages to keep viewers leaning in anticipation for some sort of satisfying payoff, the film ultimately concludes with a bit of a sputter.

The standout reason to check out this film is Frost. When he’s given the chance to speak, he brings depth and engagement to every scene. Frost’s range has always been impressive, allowing him to shift from empathetic to menacing on a dime. He is ultimately the glue holding this film together, with his dual nature making him both amiable and terrifying. Without his performance, the film would likely be as transparently weak as its ghost design.

Norris serves as more of a prop throughout the story, though he does get a few scenes to showcase his ability to portray being a true asshole — and, to his credit, he nails it. Karlsen is the true focus of the film, though she’s asked to play a mostly passive role. Her character moves through her experiences in a detached “deer-in-the-headlights” state, and while an explanation is given, it doesn’t make for particularly compelling viewing. Karlsen delivers what the role requires, but the script doesn’t provide her with much depth.

Black Cab has many of the ingredients needed for a solid ghost story, but they honestly don’t quite seem to ever come together. Frost brings his A-game, offering fans a compelling performance amid the film’s uneven scares.  If you’re a fan of Frost in general, you will not be disappointed by the time you spend with him. Still, it’s hard to recommend you call shotgun for this particular cab ride — you might find yourself wishing you’d taken an Uber instead. Nonetheless, it’s not the worst horror film of the year — for those seeking a horror fix of some sort, this movie has just enough to scratch the itch.

Black Cab will be on Shudder on November 8.

Rating: 2/5