Time Lock

A very simple story of a young boy accidentally locked in a bank vault with no way of getting out until the time lock is released some 60 hours later, well after the air will have run out. No way except, of course, breaking in. And that's it. Together with an average cast and fairly wooden performances from some of them this should, by rights, have been no more than an average fifties film. Its strength, however, is its script. This kept the story very tight with very little embellishment and a great deal of intelligence. Usually with this type of story there are many gaps where one cannot help but feel that a truck could be driven through the errors made or the ridiculous twists. With Time Lock, however, the script covers virtually everything that the viewer would consider. Details such as the thinking and methodology of how to get into the vault, organising the people required and even such items as the possible medical effects on the boy and how to calculate the amount of air left to breathe. All this had a great effect on building the tension and I had to watch it until the end. One of the most enjoyable films that I have seen in a while.

This is a simple story of a boy who finds himself trapped in the vault at the bank where his father works and the race to get him out alive. It's Friday and the Bank is getting ready to close for the weekend. Stephen Walker (Winter) has just turned six and as a treat, his mom, Lucille (McDowall), takes him to meet his father, Colin (Patterson), out of work. His dad just has to close up the vault and then they can go and celebrate. However, while Colin and his boss, George Foster (Gifford), lock up the vault there's an automobile accident just outside the window, which takes their attention away for a couple of seconds. When they finally close the door and the time lock kicks in it's the teller, Evelyn (Francis), who alerts them to the child's predicament... now the race is on...

What I really liked about this was the simplicity of both the story and the location. You get a few outside shots, which only take up a couple of minutes, at most, and then the rest of the movie is set in two rooms. Though you never really notice as the Director, Thomas, keeps you involved in the unfolding story. As time passes, the question, "Will they be quick enough?" becomes more and more imperative... while the outlook grows bleaker and bleaker. Thomas uses the limited space well, moving the camera around to its best advantage.

Then there's the acting, which is above par. Every person involved in rescuing the boy has an urgency in their voice and in their movements. Robert Beatty really sells the self-assured and strong-minded Pete Dawson, the mind who is responsible for the banks' security. He is quick with a plan and quicker to rally the troops. Whereas, Gifford as the Bank Manager Foster hits all the right notes in portraying a man who feels accountable for the accident and the possible death of a child. One thing which got under my skin was how little the parents appeared in the film. It would have been better if these two characters had been stronger, then you would have had a near-perfect cast.

I'd recommend this film to all. It's a nice way to spend an afternoon on these cold winter days, while the central heating keeps you nice and cosy.

Before he directed what seemed like thirty-five billion "Carry On" burlesques, Gerald Thomas directed this film, a simple drama about what happens when a small boy gets locked in a bank vault with a time lock set for over sixty hours -- and about ten hours' worth of air. It's from a play written by Arthur Hailey, and considering what the director would do, and Hailey's admiration of the AIRPLANE! burlesques of AIRPORT, based on his novel, it makes you wonder what a Carry On this would have made.

As a straight drama, it's a pretty good, if minor picture, filled with the sort of situations and characters that would populate Hailey's big novels, the movies made from them and the Disaster Movie genre. Allen Gifford is particularly good as the bank manager who works hard to get the child out, and constantly blames himself.

If I had any complaint, it is that it is too focused. Everyone is too focused, everyone is too polite. This, however, is not THE BIG CARNIVAL, nor AIRPORT nor CARRY ON, KID STUCK IN A BANK VAULT. For the story it tries to tell, it tells it well.

This is actually a pretty good thriller that benefits from the no-nonsense, fact-based dialogue and avoids sentimentality for the most part. Technically it's nothing remarkable and yes, the actors are largely undistinguished, but the story is developed in a pleasing and suspenseful way. Another reviewer's remark on this page that the film doesn't work because the child is unappealing is somewhat bizarre. The kid is on screen for all of two minutes and has but a few words of dialogue. And he's actually a cute little fella too, making you root for his rescue.

In summary then, this is a movie which had the likes of Hitchcock or another of the greats directed it, have been a classic. Instead it's an enjoyable way to spend an hour and a bit in front of the telly - especially if you, say, find yourself off work ill one afternoon.

Although the plot feels rather forced and awfully predictable, this is a surprisingly quite intense film that is able to keep one always interested all the time, due to the presentation of all the scientific evidence in an interesting manner, as well as an appropriately short running time. It feels well researched, the music used is applied well, and for Sean Connery fans it has the bonus of his presence in a brief supporting role as a welder. Still, the film does have quite a tendency for unnecessary melodrama; in particular McDowall overacts whenever she is on screen. But in spite of the film's flaws, the overall picture stands strong, and while it might not be everyone's cup of tea, I would highly recommend it if the film has even the slightest appeal to one's taste.