A riveting performance from Tom Hardy makes this pseudo-thriller utterly riveting, turning even the most contrived plot elements into punchy drama. Like Robert Redford in All Is Lost or Sandra Bullock in Gravity, this one-person show also works as an intriguing cinematic experiment: telling an entire story centred only on a man driving a car for 90 minutes.
Hardy plays construction foreman Ivan Locke, who's set to oversee the biggest concrete pour in Europe. But at the crucial moment, he abandons his post and hits the road for a late-night drive from Birmingham to London. He turns his work responsibility over to his extremely nervous assistant (voiced by Andrew Scott), but has a tough time calming down the corporate bosses. He also phones his sons (Tom Holland and Bill Milner) to tell them he won't make it home to watch the big game, but he struggles to explain to his angry wife (Ruth Wilson) the reason he's driving to London to meet a middle-aged woman (Olivia Colman), who is also sounding rather stressed down the line.
As Hardy's character tries to salvage his marriage, family and career, his moral conundrum becomes increasingly intense, and Hardy plays him as a man whose internal turmoil is raging behind his confident voice. It's a remarkably effective performance, gripping and involving, asking big questions even if the script never quite gets around to grappling with the issues at hand. It's also playing rather heavily on the irony that doing the right thing is likely to cost Ivan pretty much everything, leaving him alone and despised like his father.
Continue reading: Locke Review
Ivan Locke could well be the model of a perfect life with his beautiful family, comfortable life and a job that is only continuing to offer more and more. However, everyone's got a past and this man's is coming back to haunt him as an incident regarding his younger self threatens the stability of his idyllic existence. He is forced to leave an important job in the construction profession that would've been of significant value to his career in order to drive to London and settle a matter that has been hanging in the air since he was in his twenties. It's a 90 minute journey that seems to take forever as he attempts to resolve a variety of issues that have arisen both at work and at home over the phone. He also finds himself talking to his dead father as he battles to save his family, his job and his sanity.
Continue: Locke - Teaser Trailer
While this strikingly well-made film is a great calling card for rising-star filmmaker Norris, it's also so relentlessly dark and unsettling that it's difficult to see the point of it all. This is such a bleak coming-of-age tale that it almost obscures any hope at all, focussing a series of horrific incidents into a confined space that gives the actors and filmmaker a change to shine, but leaves the audience exhausted.
It's set in a North London cul-de-sac, where the pre-teen Skunk (Laurence) lives with her big brother Jed (Milner), her single dad (Roth) and her nanny Kasia (Marjanovic). But her happy life is thrown into chaos when violence erupts: hotheaded widower Bob (Kinnear) storms across the street and punches simple-minded Rick (Emms), seemingly for no reason, triggering a series of events that Skunk struggles to understand. And Bob's three daughters seem to be just as violent. One (Bryant) is mercilessly bullying Skunk at school, while another (Daveney) is seducing Jed.
The way so many story elements circle around Skunk makes the film feel almost like a stage play. Everyone is so interconnected that we wonder if much of this exists only in her mind. For example, Kasia has just started a relationship with Skunk's schoolteacher (Murphy), who has been accused of abusing one of Bob's daughters. And there are even more issues that put Skunk in both emotional and physical peril, including a new boyfriend (Sergeant) who might have to move away and the fact that she has Type 1 diabetes. And Skunk's world seems to be limited to her street and a junkyard across the field.
Continue reading: Broken Review
It's 1962 and the world is on the brink of starting a new world war. As far as the general public are aware, mutants do not exist. Two of those very mutants still discovering their abilities are Charles Xavier and Erik Lensherr (Professor X and Magneto), two equally intelligent men who share a secret; they both hold incredible powers.
Continue: X-Men First Class Trailer
It's 1962, and Charles Xavier (McAvoy) is recruited by US Agent MacTaggart (Byrne) to explore how the CIA can benefit from mutant humans. The telepathic Charles grew up with shapeshifting Raven (Lawrence), and they start assembling a team. A key partner is metal-manipulator Erik Lehnsherr (Fassbender), who's set on revenge against energy-absorbing Shaw (Bacon), who killed his mother in a Nazi war camp and has powers of his own. And now Shaw has his own mutant team (Jones, Flemyng and Gonzalez) and is sparking a nuclear war between the USA and the USSR.
Continue reading: X-men: First Class Review
Disabled by polio at age 10, Ian Dury (Serkis) grew up with a fierce determination to be himself, and against the odds became an iconic leader of Britain's punk scene in the 1970s. But his unruly lifestyle takes a toll on his personal relationships, and he barely knows his son Baxter (Milner) from his first wife Betty (Williams). So Baxter comes to stay with him and his current girlfriend Denise (Harris), and both father and son need to figure out how to relate to each other. And to realise how much they need each other.
Continue reading: Sex & Drugs & Rock & Roll Review
But there is another lost soul at the old folks home, ten-year-old Edward (Bill Milner), angry at having to give up his room to the dying tenants. His Mum (Anne-Marie Duff) and Dad (David Morrissey) run the facility out of their home in an English seaside town. The recent resident of Edward's room has just died and Clarence has now arrived to take the dead man's place. Edward is obsessed with death and ghosts. When asked why he is so morbid, Edward shouts back, "Because I live here!"
Continue reading: Is Anybody There? Review
The titles refers to Sylvester Stallone's initial Rambo adventure, First Blood, which directly inspires ruffian Lee Carter (Will Poulter) and his puritan school chum Will Proudfoot (Bill Milner) to make their own movie in the summer of 1982. There are obstacles, of course. Will's family belongs to a strict religious organization that forbids movies, television, and other forms of pop culture. Lee's own family is nonexistent. His parents travel often, leaving him in the care of an older brother who could care less.
Continue reading: Son of Rambow Review
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