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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In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged-out rock 'n' roller presumed to be dead but very much alive -- has a multi-million-dollar prize fall into... See full summary »
Adventurer James Keziah Delaney returns to London during the War of 1812 to rebuild his late father's shipping empire. However, both the government and his biggest competitor want his inheritance at any cost - even murder.
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 license plate on Locke's car reads "Adios" (playing with numbers as letters) which means goodbye in Spanish and is a recurring theme in the film See more »
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 »
Ivan, you fucked up your life, that's your business, but Chicago is going insane.
Two words I learned tonight. Fuck Chicago.
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A lesson of how unique and quite fantastic minimalist cinema can be.
A surprise at the 57th London Film Festival. A film where the whole story takes places inside the confines of a car, and with Tom Hardy as the one-man star. But just how well does it work?
Tom Hardy, known best for majors roles in The Dark Knight Rises and Inception drops the theatricality and larger than life appearances and takes on the role of average man Ivan Locke, a building site manager, who over the past nine years has made his life as solid as the concrete he is in charge of pouring. Concrete is his religion. On the eve of the biggest job yet, also Europe's largest ever - we follow his car journey from Brighton to Croydon as the world around him slowly crumbles and he loses it all.
British Screenwriter and Director Steven Knight, brings us yet another gripping British drama, after previously making Hummingbird starring Jason Statham earlier this year. Clocking in at just under 90 minutes, Locke is refreshingly short and never over stays its welcome. The narrative is actually so constant that even when Hardy is not in hands- free phone switchboard mode, we capture another underlying story. Locke provides just as much a character journey as it does a car journey.
During the recent UK Premiere, producer Paul Webster recalls his initial talks with Steven Knight, in which he said; 'I want to do something quite different, in a confined space, about a guy whose life changes during the course of one car journey. And we never leave the car.' And that is literally what happens. Bringing an ideal mix of humour and emotion to the project, Hardy's taunt performance is mesmerizing. The put-on Welsh accent is pretty decent also. Filmed in just eight nights and with very low budget, the film is literally a lesson of how unique and quite fantastic minimalist cinema can be.
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