The Toll

3/18/20221h 23m

Theatrical (limited) Release (US)

~ Everybody pays the troll toll. ~

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.

Director:

Ryan Andrew Hooper

Status:

Released

Language:

English

Buget:

$0.00

Revenue:

$0.00

Key words:

wales
ambulance
murder
police officer
tollbooth guard
criminal gang
toll booth
hidden identity

Cast

Michael Smiley

~ as ~

Toll Booth

Annes Elwy

~ as ~

Catrin

Gary Beadle

~ as ~

Elton

Iwan Rheon

~ as ~

Dom

Steve Oram

~ as ~

Mr Henry

Evelyn Mok

~ as ~

Dixie

Paul Kaye

~ as ~

Cliff

Julian Glover

~ as ~

Magnus

Darren Evans

~ as ~

Tab

Gwyneth Keyworth

~ as ~

The Triplets

View full cast & crew

Reviews (1)

CinemaSerf
Written 3 year(s) ago
5
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.