Tired and irritable, Zakes Abbott drives home along the motorway, his girlfriend, Beth, asleep beside him. Failing to spot his exit he speeds across the causeway, cutting up a white van and barely avoiding an accident. Apoplectic with rage, the truck driver gives chase, and as he violently overtakes the tailgate flips up revealing a woman bound and bloodied in the back. But before there is time for a second look, the door is slammed shut and Zakes is left bewildered and wondering if what he saw was real. Later at a service station, Zakes' fears grow when Beth goes missing, and as he begins a frantic search, he is enticed into a deadly game of cat and mouse on the deserted motorway. But being the sole witness to the earlier scene, how does he convince others of his desperate need for help? Playing on our most primal fears, this taut suspense thriller challenges a world where we constantly turn responsibility over to someone else and asks the question: what do you do when there is no ... Written by
When Zakes is looking for Beth in the service area, he crawls under a lorry in the lorry park in the pouring rain, in the next scene inside the service area, he appears clean and dry, surely he would be covered in oily marks. See more »
After the coda, credits start appearing. After the producer credits, an epilogue is shown, of one of the criminals (obviously uncaught) shopping at a bookstore, and picking up a book by the protagonist describing the criminal operation and its end. See more »
(K Gee Heat Remix)
Written by Alesha Dixon
Performed by Alesha Dixon
Published by Universal Music Publishing Ltd, Warner/Chappell Music Ltd and Xenomania Songs Ltd
Courtesy of Polydor Ltd
Under licence from Universal Music Operations See more »
This is a stylish British thriller about a couple experiencing something horrible happen on a motorway. However, the cliché ridden plot is not what makes this film better than the average thriller. Mark Tonderai, formerly a Radio 1 DJ favours hand held camera shots, presumably due to budgetary concerns and this works well for most of the film. For example, the hand held stuff in the car between the couple succeeds in showing their relationship breaking down through close ups, shakiness and blurriness. The first ten minutes, like with most short films, seems very rushed and we get a whole lot of hurried dialogue crammed full of exposition, which I usually hate, but I forgive this film because character development needs to be quick for a film of this type. I won't go into detail over specific plot points that I didn't get, but there is an episode with a security guard, which is not necessary and just plain dumb. It usually happens on debuts, so I won't hold it against him. The real shining light of this film, however, is the main performance of William Ash who not only looks just like a young Robert De Niro but is not too far behind him on the acting front either. His extraordinary energy really brought this film to life for me and don't tell me it wasn't a tough role either because he had to change mood, change tone and change expression is almost every scene and I was never reminded I was watching a film with him on screen. I don't want to go over the top but to hell with it, I'm going to stick my neck out. This guy is going to be the next big Brit thing. Remember his name, he's fantastic. So to sum up, it is a solid film that is made better because, apart from he general concept of the plot, it is largely cliché free (except for a scene in a toilet involving a lot of opening of cubicles, which I have seen in hundreds of films.) William Ash in many scenes makes the film spring to life and Tonderai probably has a bright future ahead of him if he's given more cash and brings more twists to genres. This film could be the start of something special for Tonderai and I really, really hope it will be the start of a long and successful career for Ash.
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