Wednesday, July 2, 2014

[Review] Locke

One man. One car. Multiple crises.

Essentially, the entirety of Locke takes place inside of a car cruising on the freeway. The driver of this vehicle is Ivan Locke (Tom Hardy). Flashing lights fill the night spaces on the inside and outside, and reflections emerge on every piece of glass. The camera displays multiple angles, but most of the time it's a view through the front windshield.

From the get-go, Ivan speaks on the phone via Bluetooth, on-and-off with a small bundle of people. We gradually learn that he has a couple of problems on his hands. He's on his way to the hospital where a woman who he had a one night stand with is going into labor--with complications. He's in the midst of explaining the situation to his wife and sons. And to top it off, his latest construction project is unraveling at the site.

This film definitely is a Tom Hardy showcase, and it's the main factor that keeps this thing from turning into a drifter. It's an intense yet restrained performance--a brilliant depiction of someone attempting to remain calm in heated moments. Swallowed frustrations. There are no steering wheel poundings. In fact, he barely even raises his voice. The strength is in the nuances and dedicated focus.

Given that Locke is such a contained film, it does take some patience. This isn't thriller. It's a character study in a car--a depressing and enveloping portrait of a person's life crumbling during the course of a single, 80-minute car drive (the duration is in real time). The ending feels fitting, but it isn't fully satisfying either.

Is Ivan stuck or is he moving? Probably both. Is Locke stuck or is it moving? Probably both.


1 comment:

  1. jervaise brooke hamsterJuly 6, 2014 at 9:54 PM

    I want to bugger Miley Cyrus.