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Leaving the construction site on the eve of a major project, construction manager Ivan Locke receives news that sends him driving the two hours from Birmingham to London, but even further from the life he once knew. Making the decision that he has to make, he then calls his wife, his sons, his co-workers and boss telling them the secret that he is bearing and trying to keep his job and family intact. But even more importantly, he will have to face himself and the choices he has made.Written by
The film shot during the course of six nights with three cameras rolling. See more »
Locke talks about 350 metric tonnes of concrete as being the largest concrete pour in Europe ever (apart from nuclear and military facilities). Concrete is calculated by volume. 350 tonnes is about 160 cubic metres - basically about enough to fill a room that is 9 metres long x 9 metres wide x 2 metres deep. The price of this concrete would be somewhere in the region of £10,000 at 2014 prices. Many projects exist where over 3,000 cubic metres has been poured in a day (about 6,600 tonnes), so 350 tonnes isn't something a decent sized company would get too excited about, and you could probably complete it in 3-4 hours with just one concrete pump. See more »
A writing masterclass with an outstounding performance from Hardy
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
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