Today: April 16, 2024


Meet Ivan Locke, construction foreman, devoted father and loving husband. That’s how we meet him anyway. Apart from a glimpse in the very opening scene there is no one else on screen but Mr Locke for the film’s intriguingly succinct 85 minutes.

Ivan is driving home from work, just like any other day, when he suddenly turns right when he’d normally turn left at a set of traffic lights. Literally at a cross roads. This begins the gradual unravelling of the story, as we learn more and more about the reasons behind this decision, and, ultimately, of his life.

This is bold filmmaking, not because of any groundbreaking special effects or sweeping camera work but bold because it dares to trust its story, its director and lead actor. That director is Steven Knight and despite the obvious risk of claustrophobic limitation (we never leave the confines of the car) he creates a wonderfully expansive scope to Locke’s story, making it feel very real and immediately intense.

It’s Tom Hardy that drives the film, as his commanding central performance completely disarms and embroils you in his increasingly desperate plight. He’s not alone (well, actually he is), as his supporting cast – the always good Olivia Coleman, the exceptional Andrew Scott and a fragile Ruth Wilson – join him through the medium of his car’s in-built telephone system. An ingeniously simple use of dramatic convention, as the car starts to take on a character of its own, growing into the story as we spend more time, with Locke, in it.

What you do, the decisions you make, affect the people around you. Honesty is the best policy but at what cost? If doing the ‘right’ thing by one person destroys the lives of others, is it still doing the right thing? These questions form the moral core of this wonderfully simple gem of a film, making it much more than the sum of its parts.

Locke is cinema as it could be: brave, different, thought-provoking and really very human. Go see it, it’s interesting and, hopefully, will leave you thinking about whether you turn left or right…

Previous Story

A Most Wanted Man

Next Story


Latest from Blog


Memory (2023)

Memory is an exquisite American drama in the tender embrace of Michel Franco’s cinematic prowess.


Argylle is one of those films that, for the first 15 minutes, you absolutely hate. Then, slowly, inexorably, the script’s subversive humour starts to work its way under your skin. So that,


From ultra-stylish visuals, to the cool, jazz soundtrack, and the knowing nod to Noir, Sugar is one glorious piece of misdirection after another. Like the best detective fiction, the clues are all

The Borderlands Unboxing

The Borderlands is one of the most underrated hidden gems in the found footage subgenre, so for it to receive the Second Sight treatment is fantastic news for horror fans. Our Alex

The First Omen

Last year, David Gordon Green followed up his underrated Halloween legacy trilogy with an ill-fated attempt at a sequel to The Exorcist. The film was ultimately a lesson in how not to
Go toTop

Don't Miss


From Hotel Del Luna, to All of Us Are Dead,

Venom: Let There Be Carnage

2018’s Venom was a decidedly middling entry to the current