Renowned British actor Nick Frost, widely recognised for his comedic prowess, has established a notable presence in the realm of horror—particularly horror-comedies—over the past two decades. His most iconic roles stem from collaborations with Simon Pegg, where he portrayed Ed, the slovenly yet loyal best friend in Shaun of the Dead (2004), and Danny, the endearingly simple police officer in Hot Fuzz (2007). He’s also appeared in a smattering of others, including Paul (2011), Attack the Block (2011), and The World’s End (2013), the latter completing the celebrated 'Cornetto Trilogy' alongside Shaun of the Dead and Hot Fuzz.

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In recent years, he reunited with Pegg for the somewhat underwhelming Slaughterhouse Rulez (2018) and took on a lead role in the paranormal comedy series Truth Seekers, which garnered positive reception but was unfortunately cancelled after just one season. Frost is always a big (and usually warm) presence on screen, hence why so many of us are so fond of him. He either makes you want to laugh or to give him a hug It's difficult to imagine someone with his affable charm stepping into the role of a horror antagonist. Yet, Bruce Goodison’s Black Cab dares to explore just that, offering a potentially dark new dimension to Frost's acting repertoire.

 

The film opens with four thirty-something friends enjoying a pleasant meal out together. Amid the lighthearted banter and conversation, a subtle undercurrent of tension simmers, particularly between Anne (Synnove Karlsen) and her handsome but cocky boyfriend, Patrick (Luke). Their relationship is clearly complicated, with strong indications that Patrick has been unfaithful in the past and may be exerting control over Anne, who appears emotionally fragile. The evening culminates in a heated argument, and Anne attempts to leave by hailing a cab. To her frustration, Patrick insists on joining her, revealing that he plans to stay at her place (he’s currently crashing with their friends). The cab driver, Ian (Nick Frost), a seemingly affable yet blunt character, attempts to break the tension with small talk. Anne remains largely silent, while Patrick dismisses Ian’s conversation attempts, leading to increasingly confrontational exchanges. Before long, the couple realise that something is amiss with their driver, and their suspicions are confirmed when they realise Ian has no intention of taking them home.

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Without leaning too heavily on football metaphors, Black Cab is a film of two distinct halves. It begins as a taut, claustrophobic thriller but gradually shifts into an entirely different sub-genre. While switching gears midway through a film can sometimes be a winning formula—think The Cabin in the Woods (2011), Martyrs (2008), or From Dusk Till Dawn (1996)—in this case, the transition feels less seamless. Rather than evolving or expanding upon its initial premise, the second half of Black Cab feels like a step backward in terms of engagement and quality. If we were to continue with the road analogy, the first 45 minutes resemble a smooth, well-maintained country road, while the latter half veers into a narrow lane full of potholes and traffic lights, ultimately leading to a dead end. By the film’s conclusion, the destination feels both abrupt and unclear, leaving the viewer uncertain of where the narrative has ultimately led.

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That said, there’s still enough here to make Black Cab worth a watch, despite its missteps. The film’s premise is simple yet effective: most people - especially the ladies -can relate to the unnerving feeling of being at the mercy of a taxi driver, especially one with whom you share no personal connection. Anne’s comfort with her boyfriend offers little reassurance, as he is hardly the protective figure one might hope for. Director Bruce Goodison skillfully builds tension between the trio over the course of the first hour, gradually increasing the sense of unease as the mystery of Ian’s character and intentions deepens. Despite being confined to a single vehicle for much of its runtime, the film avoids feeling too restrictive or monotonous. However, while Karlsen and Luke Norris give solid performances, their characters feel somewhat underdeveloped, with Nick Frost’s portrayal of Ian standing out as the driving force of the film. At times, Ian seems friendly and even relatable, but there’s always an undercurrent of menace just below the surface, making him an unpredictable and difficult antagonist. One moment he’s calling Anne a "silly goose," the next he’s threatening to killer her boyfriend.

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When the true nature of Ian’s intentions is revealed, the film doesn’t lose its momentum so much as it stumbles in its execution of the final act. After a slow-building, intense setup, the conclusion feels rushed and somewhat lacking in visual or narrative impact. With a more focused concept and stronger imagery, Black Cab could have been a more compelling thriller. As it stands, it remains a middle-of-the road thriller - entertaining, but not quite the roaring success it could have been. Nevertheless, the strong first half and Frost’s unsettling performance make it worth a watch for fans of character-driven suspense.