Balade nocturne

This wasn't a terrible film, but based on the description I hoped for more action and such. Most of the movie is shot inside the main characters car, as he navigates the streets to chase down his one last job before quitting that life forever . I would say that the idea was there and it was an interesting concept but could have been executed better. Overall not a bad movie but feels very drawn out.

This real-time single-take shot film was certainly an edge of your seat tense and suspenseful ride. It's certainly an impressive feat as only his second full length film for short-film director Stephen Fingleton. I had my doubts at first - I mean what can you really accomplish in one take for 97 mins, but short-film writer Ben Conway (who makes his first full length feature film debut) managed to throw in some tense twists, curve-balls and even some amusing one-liners to keep me entertained the entire time. The story wasn't really revolutionary, but the way it was shot, and the fact this was all in real time, just made the writing that much more exciting. Moe Dunford as Budge helped elevate the story with great body language and mounting intensity. This is a great slickly crafted minimalistic Irish crime thriller and it's certainly worth the watch. A well deserved 8/10 from me. .

If you liked THE GUILTY (Den skyldige, 2018), LOCKE (2013), WHEELMAN (2017), you will like this. There is anxiety and tension, it is thrilling enough to keep your interest and to make you invest, and finally, the actors are doing a good job. 5.7/10 is an unfair rating, i don't understand the low ratings, this is a fine little flick if you know what to expect and if you can use your imagination.

Despite a lot of the negative reviews here, this film is a solid watch. Single take, in the same vein as Locke - namely all action circling around the main protagonist with a few stop offs and on screen dialogues most of the film is set inside his car via a series of phone calls. A bit of a marmite film I guess. Sometimes veering into and depending on convenient plot armour, the film pulls off what is a difficult premise with the single camera take. Really enjoyed it, worth a go if you're looking for something a bit different.

An excellent low-key thriller carried with aplomb by the stellar performance of Moe Dunford.

One last night of hustling, one last night of pulling the strings, being the puppet-master, bossing the deal... And just like in love or war, no matter how hard you try, nothing goes right for our protaganist Budge. He's a major player in the Belfast coke scene, 50 kg's of the finest nose candy that he's got to shift before midnight, just him, his car, his mobile, his contacts and his wits.

It's been done before, driving through the night, man with a deadline: vis-à-vis Locke. But this time the stakes are much, much higher. Budge wants to get out, to go straight, start a garage business with his partner Graham - just one last deal to do, to fund it. Can he pull it off? Not if he get's on the wrong side of the man he's just borrowed £100k from to buy the drugs, the enigmatic and precisely enunciated Joe, just a voice on the phone played superbly menacingly by Stephen Rea. Joe's enforcer Troy, played by Gerard Jordan, is a man with scant regard to the concept of invading personal space...

So the night rolls on and Budge deals with the hand of fate played out to him by circumstances always beyond his control. And just like his partner, you can get strangely aroused by watching it all unfold... It's a one-shot white knuckle drive to an appointment with destiny.