Locke Review

Director: Steven Knight.

Starring: Tom Hardy, Olivia Colman, Ruth Wilson, Ben Daniels, Andrew Scott.

Running Time: 85 Minutes.

Certificate: 15

Synopsis: A successful construction manager’s life is drastically changed by a series of phone calls while he drives.

Tom Hardy has a rep for trying new things. And, while the actor may have familiarised himself with a number of diverse roles over the years – whether it be an eccentric, moustache-wearer in BRONSON, a cardigan-sporting un-killable brother in LAWLESS, or bulky, inaudible baddie in THE DARK KNIGHT RISES – it’s Steven Knight’s LOCKE that is perhaps one of his most challenging so far. It’s very much an indie film grounded in reality, yet is essentially an experimental flick that solely relies on Hardy’s ability to command attention, because he’s the only person in it.

Hardy assumes the role of Ivan Locke, a valued manager of a construction team who, on a whim, embarks on a drive halfway across Britain after clocking off for the day. As the story unfolds (all within the confines of his car no less), the single location is akin to PHONE BOOTH or BURIED, and is just as interestingly conceived.

As we learn of Ivan’s intent to drive from Cardiff to London to be with the woman who’s about to give birth to his illegitimate child, the layers of this mild-mannered Welshman begin to unravel with every in and outgoing phone call. And that is the basis, and indeed structure, for the movie.

Fittingly, Hardy’s accent is as experimental as the concept itself. He adopts a softly spoken Welsh twang that seems odd at first, but eases in during the less tactful and self-righteous moments we’re privy to. Sure, Ivan’s intentions may be sincere on the surface, but his extra-marital fling that’s caused pain and disruption will no doubt polarise audiences with every mile he travels.

While the role is captivating, the reliance on his conversations in what seems like an endless number of calls begins to grate with its repetitiveness. With the editing of this 85-minuter blurring its timeframe, for a while we’re left unsure whether it’s meant to be a real-time narrative, thus the continuous calls appearing distorted from our perspective.

That said, LOCKE, for all its intents and purposes, works. It’s effective in drawing us into his world of working-class woe, in a genre splice made up of equal parts thriller, road movie and drama. The humour is infrequent and subtle when brought to the forefront, yet never encroaches on the severity of the matter at hand.

There may be no definitive closure towards the film’s conclusion, but Wright directs competently enough to engage us into a position of caring about Ivan’s extracurricular fallout, shattered family life and, more frivolously, the important job he’s abandoned on the spur-of-the-moment.

Ultimately though, it’s all forgettable once the credits roll, which is to the film’s credit: we’re invited to travel along with the cement-obsessed beard-wearer and quite simply part ways with him at the end.

[usr=3] LOCKE is released in UK cinemas this Friday 18th April.