Locke

Locke is a film that answers the question: What’s it like to be in a car with a guy who has made some questionable decisions? Or, at the very least, is having the worst day of his life.

I won’t spoil the film, and I am not even going to bother with telling you any of the plot details. Locke is a film that is best seen with as little foreknowledge as possible. Let’s just say the Ivan Locke, played by Tom Hardy, has to take a trip from Point A to Point B because reasons. It’s not a sojourn he wants to make, but one he feels he has to make. Oops. Spoilers.

Okay, I will give you this much: Along the way, Locke makes and receives a series of phone calls. I refuse to say who Locke is talking to, or what his relationship is to them.

I know, I know, you don’t want to spend ninety minutes watching some dude in a BMW taking phone calls. You can see that for free every workday. This is true. But, and this is a Kardashian sized but, the guy next to you in bumper to bumper traffic is not a World class actor. Unless of course it is.

Alfred Hitchcock (Yeah, it always comes back to him) described the scenes in many of his films that contained no dialogue as: “pure cinema.” That is to say that the picture told the story. In the case of Locke, an arguement could be made that Tom Hardy is engaging in “pure acting.” In a sense, he is perfoming a one person show. So to speak. There is not another actor in the car to play off of and react to–it’s acting via telephone. Okay, yeah, Lily Tomlin and Bob Newhart have been doing something similar for decades, but . . . Forget about it, just watch the film.

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