Friday, 23 January 2015

Locke (2014)

Ivan Locke is a man that's used to being in charge, getting things sorted. Ivan is logical, precise. Ivan is in control. Ivan plans against contingencies and he's in his own little metal world where he is king. Even a pregnancy is on a "to-do" list, and it's not even at the top of that list. Ivan pours concrete, and concrete is strong and stable. Above all though, Ivan has honour, honour that can ignore and trample people, but honour none-the-less. Ivan's control starts to slip. Ivan talks to his dead father.

Locke makes great use of widescreen to enhance the size of the interior of the car and occasional shots outside the car interrupt and control any boredom. Beautiful use of lights, reflections and depth of field keep the action centred in the car but to imply a word outside. There is some great slow and steady editing, superimposition, lighting and reflection. The whole film reminds me of driving long distances at night (I have done 24 hour stints a few times). The soundtrack is excellent, non-intrusive and reminds me of Explosions in the Sky.

There is one issue with the film and that is that Hardy's Welsh accent is a little, shall we say, "It Ain't Half Hot Mum". Why did he have to be Welsh? Why not English? At least Hardy can do that accent.

Locke poses two questions: are the sins of the father revisited in the son and, most importantly, can you exert control over a inherently chaotic system.

Original letterboxd review

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