No Turning Back

Both in terms of technique and storytelling approach Locke proves to be a fascinating piece of filmmaking, as the audience accompanies a successful construction manager on a thrilling car journey, where he faces a massive, life-changing predicament, one that effects both his professional and private life. Tom Hardy is simply magnificent in the title role, portraying a highly complex character for whom one develops very mixed emotions, as he is respected and despised both at the same time. The film demonstrates great ingenuity and creativity with its concept, proving gripping and incredibly suspenseful throughout, the credit for the which can be equally shared by Hardy's marvelous acting skills and a captivating story that is flawlessly executed. The fact that a fairly simple film with a single actor, a single confined location and a long string of problems can produce such a spellbinding experience is nothing short of extraordinary, which certainly makes Locke worthy of the highest praise.

For Locke's true power as a film to sink in you will need a few days to sit and ponder upon its small yet intricate construction, for in a film that is set almost entirely within the confines of one man's car, Locke deals with many an issue and does so by uncorking a powerhouse Tom Hardy performance and a downright believable script by Brit Steven Knight who here makes up for his dreary directing debut Hummingbird.

There will be many out there that have no time for Locke due to its setup and in a way this is not an unjust decision by them for Locke requires much of you as a viewer and does not look to find a way around this. Not perhaps since Ryan Reynolds found himself in a tight situation in Rodrigo Cortes 2010 film Buried has a film relied so heavily on the audience to bear with it and a performer to hold our attention with nothing more than a phone (or Bluetooth) to act alongside with. Locke's tightly focused pacing and realistic scripting are both hugely successful but it is in the performance of Hardy that the film finds its true power and ability to stick with you days after release.

Oft cast as the hulking or manic presence within a film as seen in any of Warrior, The Dark Knight Rises or Bronson, Hardy hear is a steely at times inwardly reserved Ivan Locke, a man whose world is crumbling around him despite being sheltered by his luxury ride. Playing Locke with a welsh accent and with a vulnerability within both his eye, Hardy showcases a rarely displayed side to his acting talents that Knight uncovers to great effect. Whether Locke is demanding or pleading, Hardy is in control even though his character is slowly but surely crumbling from within. It's one of the year's best acting turns, unflashy yet utterly commanding, Hardy achieves more with a singly look than some actors do within an entire role. It's worth also mentioning the voice work (the only other people you will hear during the entire movie, no one else is ever seen) of the cast here in Locke, from Olivia Colman through to The Impossible's Tom Holland as Locke's son Eddie, all voice performers give soul to the voices we hear on the phone.

A movie to be watched in the tightest surrounds available to you, Locke isn't an easy watch due to its setting and not a movie made for overall public consumption. Locke is however an incredibly smart and well-constructed film that is the perfect showcase for the increasing acting prowess of Tom Hardy, an actor that continues to stake a claim as one of if not the most interesting and diverse performers in the business today.

4 Bluetooth calls out of 5

I went to see the movie because the review of the movie said that it would change what you thought about film making. This would be true if you've never seen a movie before, but that is not the case.

Not to say that the movie is not good. It acts as a sort of one man play starring Tom Hardy as Ivan Locke, a man who made a mistake in his past that threatens to unwrap his perfect life when he tries to do the right thing. The movie totally relies on the actor playing the role and Tom steps up to the challenge nicely.

But I've seen this kind of one man play with Buried starring Ryan Reynolds and Brake starring Stephen Dorff. I can even mention other movies like 127hours or Phone booth that have a similar concept.

What makes Locke different is that the pressure of life and death is not there. In those movies the leading (and only) men were threaten with the proposal of death, While in this movie, Ivan Locke's way of Life is threaten with change, and it's this change in the concept that made the movie Quiet and low key, but the filmmakers were still able to make if fast pasted and kinetic (having it take place in a Car going down the highway helps).

The movie had the same pressure of a ticking clock about to explode and the lead character attempting to talk himself out of the situation, but the filmmaker does not force the tension or thrills on you. Ivan Locke's situation is very down to earth and every day to day. Watching him attempt to deal with this situation could have come off boring after a half hour if not for Tom Hardy showing his mental acting chops (versus how physically intimidating he seemed as Bane in Dark Knight Rises, he's a small man in real life).

Though the movie was good to watch I could have gotten the same effect streaming it at home on Netflix. Recommend you do the same.

Greetings again from the darkness. Most movies that take place in a confined space are outright thrillers that usually take full advantage of helpless feelings and desperate actions. Think back to Duel, Phone Booth and Buried. A ticking clock and lack of a safe escape route had us sweating bullets with Dennis Weaver, Colin Farrell and Ryan Reynolds. This entry from the Dallas International Film Festival takes a much different approach.

Noted British writer Steven Knight also directs this one, and rather than nail-biting tension, we get a pretty interesting character study. Mr. Knight has written some impressive screenplays: Dirty Pretty Things, Amazing Grace, and Eastern Promises. Utilizing every ounce of his writing expertise, he keeps us connected to Ivan Locke (Tom Hardy) as he drives on the freeway with intermittent rain being his biggest physical obstacle. There are no high speed chases. No stunts. No weapons. Ivan is not being followed by a spy or anyone else. He is merely driving and talking on the phone via Bluetooth.

In what could be considered the ultimate film gimmick, Tom Hardy is the only actor to appear on screen. His Ivan Locke is not just the only major character. He is the ONLY one. All supporting work and conflict is provided by a multitude of voices on the other end of a phone call. There is no need for me to delve into the story or the plot, but you should know that the situation Ivan finds himself in is not some creative web of criminal deceit ... instead it's his penance for one poor decision. That poor decision has him in a tough spot with very poor timing.

For those that wonder if Bane from The Dark Knight Rises has the acting chops to hold our attention, a reminder of Tom Hardy's fine work should alleviate concerns: Warrior, Inception, Lawless, Bronson, Tinker Tailor Soldier Spy. He can act and he can make a character his own, just as he does with Ivan Locke.

Tom Hardy plays Ivan Locke, a successful construction manager who makes a major decision on his journey home which will impact on every aspect of his life.

This a low budget drama from writer and director Steven Knight with Hardy the sole screen presence. As he takes to the road he is seemingly a man in control of his destiny, determined to do the right thing only for everything to slowly unravel. Through conversations on the phone he tries to negotiate an emerging crisis at work with his boss and an evolving domestic situation with a concerned wife and sons desperate to have their dad home to watch the football.

With a premise of just one actor in a confined location it is testament to Hardy's acting nous that he can pull off such a taught, powerful performance solely based on reactions to the increasingly dramatic phone calls. Locke is unrelenting in his belief of doing the right thing and we see why when he has imagined conversations with his father, an apparently neglectful and emotionally absent figure in his life. These scenes in particular are beautifully shot with the use of Locke looking into the car mirrors for the man who isn't there.

It wastes very little of its short running time and overall is a captivating and rewarding film with a terrific central performance.