The Oscar-nominated writer of Dirty Pretty Things and Eastern Promises directs this minimalist thriller that takes place in a car, on a long evening drive. Stars Tom Hardy as a hard-working professional on the cusp of a major career boost. But on this night trip from Birmingham to London, an attempt to confront his past life may cost him dearly.
Features Ruth Wilson (TV’s Luther), Andrew Scott (TV’s Sherlock), Tom Holland (The Impossible) and Olivia Colman (Tyrannosaur).
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91%218 reviews
In accepting the role of Ivan Locke it feels like Tom Hardy contemplated his accomplishment of acting around the Bain-tastically over-sized mouth-guard in The Dark Knight Rises and decided to one-up it for thespic constraint. We meet Locke as he gets into his car at the start of the night in Southern England. As he drives, he dials his phone (on speaker, because you know, safety) and he has a conversation. Then he calls someone else and has another.
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An exceptional one-man show for Tom Hardy, this ingeniously executed study in cinematic minimalism has depth, beauty and poise.
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As engrossing as any thriller, this quietly shattering character study, like Locke himself, achieves exactly what it sets out to, with the minimum of fuss.
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This is a masterclass in how the most local, most hemmed-in stories can reverberate with the power of big, universal themes.
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Moment by moment, with a twitch, a shudder, a look, it's Mr. Hardy who movingly draws you in, turning a stranger's face into a life.
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At first I thought this might be a glorified radio play. Not a bit of it. You need to keep watching Hardy's face.
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As constrictive as the movie gets, it gets there organically, with Knight cutting with purpose between a limited grab bag of close-ups and medium shots, drizzling his images with artificial affects as the tension mounts.
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A virtuoso narrative and technical experiment that doesn't stint on dramatic complexity or heart.
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A daring experiment brilliantly executed, with Tom Hardy giving one of the performances of his career.
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