Coming to theatres from director-writer Steven Knight, A24 and Studio Canal is a riveting look at the life of LOCKE.
This film tells the story of Ivan Locke (Tom Hardy), a mild mannered construction manager who loves his family. On his way home from work he receives a telephone call that will change the course of his life.
Getting in his car, through the car phone, Locke begins to maneuver everything in his life during a three hours drive. First, he is due back on the site for one of the biggest concrete pours of his life. Instead, he calls Donal (voiced by Andrew Scott) giving him the pep talk on how to take over.
At the same time he must deal with Gareth (Ben Daniels), a boss who is on the verge of a nervous breakdown when he discovers Locke’s change of plans.
But it’s when Locke’s one night stand Bethan (Olivia Coleman) calls with the news of a birth, he must also come to terms with telling wife Katrina (Ruth Wilson). One night and the choice he made is about to travel from Birmingham to London taking everyone for the ride.
FINAL WORD: Hardy as Ivan Locke is amazing to watch in this film. His voice is soothing throughout but once he hangs up lets completely loose. Trying to balance his job, a life, a one night stand, an angry boss and a drunken employee I’d say this performance is stellar.
It also speaks volumes about technology that Locke handles everything from a phone in his car! From one ring to the next Hardy handles each call like a pro as if he has all the answers. There is something so calming in his voice that I waited for him to totally lose it yet was surprised when he did.
Knight stays away from 100’s of different camera angles and clearly knows what we learn watching the film – never take your eyes off Hardy! Even when he is busy speaking with the backseat it is all in this actor’s eyes.
Other cast include: Tom Holland as Eddie, Bill Milner as Sean, Danny Webb as Cassidy, Silas Carson as Dr. Gulu and Alice Lowe as Sister Margaret.
TUBS OF POPCORN: I give LOCKE four tubs of popcorn out of five. It is difficult enough to pull of a multi-level story when there is a cast sharing the screen but Hardy does so completely alone on the screen.
This is a minimal as it gets and yet from call to call it is impossible to know who will be on the line next. Knight takes the film down to its barest essentials giving Locke and the viewer no where to run to and certainly no where to hide. The pressure is there and the tension is clearly in the driver’s seat and for over eighty-five minutes we are the silent passenger.
In the end – there is no turning back.