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Locke (2013)
iMDB Rating: 7.7

Date Released : 18 April 2014

Genre : Drama, Thriller

Stars : Tom Hardy, Olivia Colman, Ruth Wilson, Andrew Scott

Movie Quality : HDrip

Format : MKV

Size : 870 MB

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Ivan Locke, a dedicated family man and successful construction manager, receives a phone call on the eve of the biggest challenge of his career that sets in motion a series of events that threaten his careful cultivated existence.

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Review :

A man, his car, phone calls & an imploding life. Superb for those with active bran cells.

If you're a talking, crunching, scratching, fidgeting, munching, rustling, phone using cinemagoer, Locke is about a man in a car. He stays in the car. He never leaves the car. You'll hate it! Don't go! Please.

You'll need a brain and a level of emotional attachment to appreciate Locke. For those who have the requisite brain cells and ability to immerse themselves in a world created by the cinematic experience, Locke is a very satisfying experience indeed.

Not sure where you stand on this? Was Buried a boring, pointless film about a man in a box or a terrifying experience, an inventive film that was fearlessly shot (in a box), and the film where Ryan Reynolds proved to be a very fine actor, albeit one who frequently squanders his talent on pap? If the former, no, Locke is not for you. If the latter, go now, go quietly and be enthralled.

Ivan Locke (Tom Hardy) is a construction manager on the eve of overseeing the biggest foundation-laying exercise in Europe. He climbs into his car at the end of his shift and, as he drives, makes and receives a series of phone calls in which we understand why he isn't going home tonight. Through his own doing, his world implodes. He knows this and he understands the consequences, but he has a journey to make, both literal and metaphorical, and he's determined to make it no matter what.

Though writer/director Steven Knight has written numerous films and TV episodes, Locke is only his second feature (after last year's Redemption) and it is a film that, though it may not receive a vast audience, will set him apart as a director who knows how to maintain the tension and engage his audience with the simplest of devices. Do you remember wondering how Joel Schumacher could make Phone Booth a nail biting experience? Knight manages to keep the attention and emotional engagement just as strongly, but without a sniper.

Locke is Hardy's film, no doubt about it. Though there are superb vocal performances from Olivia Colman (almost pouring emotion though the telephone), Ruth Wilson and Andrew Scott that are humorous, heartrending and so full that one can very clearly visualize them as if they were in the car with Locke, it is Hardy who commands our attention so absolutely.

His Welsh accent is a little jarring for the first minute, but it works here and is only unfamiliar to us because we expect to hear Bane's or Tommy Conlon's voice issuing from that hulk behind the wheel. His performance is controlled, subtle and tightly wound as the man who knows that every decision he makes will bring trouble to him, but understands with equal clarity that it is what he must do. His turmoil is as apparent as his need to do his duty and honesty prevail.

When the early phone calls play out upon the screen, my own stomach tightened with the memory of difficult conversations ending relationships in years gone by. No, you may never be in Locke's predicament but, unless you have live a charmed life or are devoid of conscience and emotion, you'll identify with that sickening feeling when dealing with problems of the heart head on. It's uncomfortable, it'll be closer to home for some than for others, but Hardy makes it certain that we know his anger, frustration and desperation to deal with what lesser men have run from.

Dickon Hinchliffe's (Out of the Furnace) score is subtly powerful, the perfect soundtrack for an anguished journey, and not even the constant of the BMW brand (obvious, but not gratuitous like Google's feature length commercial, The Internship) can detract from Locke the man and the film. And, let's face it, there has to be something on the steering wheel for Locke to pound.

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