In Steven Knight’s Locke the whole wide world is reduced to the nighttime interiors of Tom Hardy’s car. For most films, this kind of gimmicky paring-down would signal a limited, specialized experience, an artificial hurdle the drama could never overcome. I’ve seen Colin Farrell trapped in a phone booth, Stephen Dorff locked in a trunk and Ryan Reynolds buried under the […]...
- 5/21/2014
- by Nathan Bartlebaugh
- The Film Stage
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