Ivan Locke, a dedicated family man and successful construction manager, receives a phone call on the eve of the biggest challenge of his career that sets in motion a series of events that threaten his carefully cultivated existence.
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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
Anne Campbell
Ivan Locke's cold was written into the script because actor Tom Hardy had a cold during production. See more »
Goofs
Whilst driving down the M1 southbound Ivan Locke drives past the junction for Luton Airport (Junction 10), then a few minutes later he drives past the sign for Luton Central (Junction 11). We know that he is driving from the Birmingham area to London. In reality, the Junction for Luton Central comes before the Junction for Luton Airport whilst driving this road. Also, towards the films climax he takes nearly 10 minutes to drive between Junction 6 (North Watford) and Junction 5 (Watford - A41) - in reality this takes about 2 to 3 minutes, even with the 50 mph temporary speed restrictions, and we can see that Ivan Locke is moving at a steady purposeful speed the whole time. See more »
Quotes
Ivan Locke:
What the fuck are you looking at? Laughing, aren't you? Laughing at my predicament! Familiar predicament to a man like you, isn't it dad? There he is, look! Like father, like son! There's the man I made. What is it they say,"the apple doesn't fall far from the tree"? Well, that's where you're wrong! Listen to me, you fucking piece of worthless shit: I want you to watch. Do you know, infact, I would like to take a fucking shovel and dig you up out of the fucking ground and make you watch me ...
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Tom Hardy plays Ivan Locke, a successful construction manager who makes a major decision on his journey home which will impact on every aspect of his life.
This a low budget drama from writer and director Steven Knight with Hardy the sole screen presence. As he takes to the road he is seemingly a man in control of his destiny, determined to do the right thing only for everything to slowly unravel. Through conversations on the phone he tries to negotiate an emerging crisis at work with his boss and an evolving domestic situation with a concerned wife and sons desperate to have their dad home to watch the football.
With a premise of just one actor in a confined location it is testament to Hardy's acting nous that he can pull off such a taught, powerful performance solely based on reactions to the increasingly dramatic phone calls. Locke is unrelenting in his belief of doing the right thing and we see why when he has imagined conversations with his father, an apparently neglectful and emotionally absent figure in his life. These scenes in particular are beautifully shot with the use of Locke looking into the car mirrors for the man who isn't there.
It wastes very little of its short running time and overall is a captivating and rewarding film with a terrific central performance.
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Tom Hardy plays Ivan Locke, a successful construction manager who makes a major decision on his journey home which will impact on every aspect of his life.
This a low budget drama from writer and director Steven Knight with Hardy the sole screen presence. As he takes to the road he is seemingly a man in control of his destiny, determined to do the right thing only for everything to slowly unravel. Through conversations on the phone he tries to negotiate an emerging crisis at work with his boss and an evolving domestic situation with a concerned wife and sons desperate to have their dad home to watch the football.
With a premise of just one actor in a confined location it is testament to Hardy's acting nous that he can pull off such a taught, powerful performance solely based on reactions to the increasingly dramatic phone calls. Locke is unrelenting in his belief of doing the right thing and we see why when he has imagined conversations with his father, an apparently neglectful and emotionally absent figure in his life. These scenes in particular are beautifully shot with the use of Locke looking into the car mirrors for the man who isn't there.
It wastes very little of its short running time and overall is a captivating and rewarding film with a terrific central performance.