Locke ★★★★½

I've never been the biggest fan of single location films, so I scoffed at the idea of Locke transcending that subgenre, especially considering writer/director Stephen Knight's string of offensively forgettable screenplay credits between this and his latest directorial effort Serenity (which, to his credit, is way too bonkers to be forgettable)... I was wrong... Knight's visual direction isn't amazing (though for only having a single car as a set it certainly isn't bad), but his handle of story and how he structured the various phone conversations to create an increasingly chaotic atmosphere, beautifully reflecting the titular characters loosening grasp on the situations at hand, is remarkable and surprisingly rich thematically. The thing that really separates Locke from other films of this ilk is Tom Hardy. I've come to expect greatness from Tom Hardy, but his performance, as well as the ridiculous accent typically accompanying them, is truly on a whole different level. It truly is a tour de force. If they made a four hour sequel focusing exclusively on Locke handling the banalities of concrete pouring, I'd watch the hell out of it...

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