The Toll
The Toll

The Toll (2021)

5.5 ? Aug 05, 2021 1h 23m

Overview

Brendan works solo shifts in the quietest toll booth in Wales, hiding from a criminal past where nobody would ever look. When he finally gets rumbled, word of his whereabouts gets out and his enemies head west for revenge. Meanwhile, local traffic cop Catrin’s investigation into a simple robbery finds her heading for the booth at exactly the wrong time.

Genres

Comedy Thriller Crime

Release Date

August 05, 2021

Rating

5.5 /10

Runtime

1h 23m

Official Trailer from YouTube

Michael Smiley

Michael Smiley

Toll Booth

Annes Elwy

Annes Elwy

Catrin

Gary Beadle

Gary Beadle

Elton

Iwan Rheon

Iwan Rheon

Dom

Steve Oram

Steve Oram

Mr Henry

Evelyn Mok

Evelyn Mok

Dixie

Paul Kaye

Paul Kaye

Cliff

Julian Glover

Julian Glover

Magnus

Darren Evans

Darren Evans

Tab

Gwyneth Keyworth

Gwyneth Keyworth

The Triplets

Dewi Morris

Dewi Morris

Pops

Sarah Breese

Frankie

Ioan Hefin

Ioan Hefin

Morgan Farm

Hefin Rees

Gwyn

Martyn Stallard

Daffodil

Dean Rehman

Victor

Dan Renton Skinner

Dan Renton Skinner

Sergeant Simon

Carys Eleri

Carys Eleri

Betty

Meghan Tyler

Rose

Tom Anderson

Surfing Cop

CinemaSerf avatar

CinemaSerf

5.0/10

Apr 14, 2022

Now I'm usually a fan of Welsh movies. They usually excel at making me laugh, and at not taking themselves at all seriously. Well this one - not so much! Michael Smiley ("Brendan") mans a remote toll port-a-cabin in west Wales where he is lucky to see three or four cars per day. Why would anyone want such a dull job? Well local police officer "Catrin" (Annes Elwy) arrives at his booth one night and he proceeds to explain all about his somewhat dodgy criminal past, and soon we are immersed in a retrospective style feature involving kidnapping, murder and the theft of some iDrops! The comedic elements, and there are some, raise a smile for a few minutes but that doesn't sustain 80 minutes as the film quite quickly runs out of steam. Iwan Rheon is underused, and the soundtrack offers us hope of an ending that simply doesn't deliver. The dialogue is unnecessarily ripe at times, there's little shock or entertainment value in that anymore - we are all just to anaethetised to it now. Clearly a labour of love for Matt Redd and Ryan Hooper, and I suppose that this is the kind of low budget film that the BFI ought to be funding; but just wait til it gets onto the small screen. No need at all to see this at a cinema.

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