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Locke (2014) - Critic Reviews - Page 7 of 9

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Review of Locke (2014)

By Manohla Dargis (1,909) for New York Times (5,786) on 23 Apr 2014

Mr…

Review of Locke (2014)

By Joe Morgenstern (2,395) for Wall Street Journal (3,071) on 23 Apr 2014

Tom Hardy, the actor who plays him, is by turns spellbinding, seductive, heartbreaking, explosive and flat-out thrilling…

Review of Locke (2014)

By David Ehrlich (1,229) for The Dissolve (1,478) on 23 Apr 2014

The film is essentially a war of attrition between emotion and pragmatism, the rare thriller fueled by stress rather than speed…

Review of Locke (2014)

By Brian Henry Martin (100) for UTV (100) on 23 Apr 2014

Surely listening to two builders talk on the phone about the pouring of concrete into the vast foundations of a skyscraper should be the dullest…

Review of Locke (2014)

By Matt Prigge (853) for Metro (930) on 23 Apr 2014

Locke' does so much right that one can forgive the occasional lapse, if perhaps not the cheap, reductive doozy with which it abruptly concludes…

Review of Locke (2014)

By Alonso Duralde (1,351) for TheWrap (3,203) on 23 Apr 2014

Hardy might be past needing a star-making performance, but this is the kind of work that raises him to highest echelon of actors working in…

Review of Locke (2014)

By Kenneth Turan (2,323) for Los Angeles Times (12,977) on 23 Apr 2014

Locke stands out both for the way filmmaker Knight conceived and executed it and for the kind of hypnotic acting Hardy can be counted on to…

Review of Locke (2014)

By Peter Travers (3,602) for Rolling Stone (4,035) on 23 Apr 2014

It's a powerhouse of claustrophobic suspense and fierce emotion, mostly because Tom Hardy, best known as Bane in The Dark Knight Rises, is…

Review of Locke (2014)

By Frederic And Mary Ann Brussat (3,072) for Spirituality and Practice (3,072) on 22 Apr 2014

An intense, well-acted drama of one middle-aged man's dark night of the soul where his choices come back to haunt him…

Review of Locke (2014)

By Jocelyn Noveck (253) for Associated Press (1,685) on 22 Apr 2014

Luckily, Hardy is compelling enough here to drive - forgive the pun - the action…

Review of Locke (2014)

By Chris Nashawaty (734) for Entertainment Weekly (6,953) on 22 Apr 2014

Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen…

Review of Locke (2014)

By Rex Reed (1,506) for New York Observer (1,400) on 22 Apr 2014

Heading toward his destination as a decent man facing ruin by doing the right thing, Mr…

Review of Locke (2014)

By Rich Cline (3,056) for Contactmusic.com (927) on 22 Apr 2014

A riveting performance from Tom Hardy makes this pseudo-thriller utterly riveting, turning even the most contrived plot elements into punchy drama…

Review of Locke (2014)

By Larushka Ivan-Zadeh (441) for Metro (UK) (700) on 22 Apr 2014

Tom Hardy drives a car down a motorway for 90 minutes while making some hands-free calls…

Review of Locke (2014)

By A.a. Dowd (854) for The A.V. Club (5,644) on 22 Apr 2014

Locke, as fascinating as it is in theory, never evolves into anything more than a glorified acting exercise…

Review of Locke (2014)

By Jordan Adler (82) for We Got This Covered (2,391) on 21 Apr 2014

Locke is a minimalist near-masterwork, throttled by a tour de force performance from Tom Hardy and Steven Knight's smart direction…

Review of Locke (2014)

By Sam Fragoso (108) for RogerEbert.com (5,563) on 21 Apr 2014

The film's modus operandi-set entirely in an automobile-hinders the script's ability to evolve into anything resonant…

Review of Locke (2014)

By Alan Scherstuhl (679) for Village Voice (8,525) on 21 Apr 2014

What director Knight excels at is continually inventive framing and composition, at suggesting, through layers of window and reflected traffic,…

Review of Locke (2014)

By Rex Roberts (125) for Film Journal International (5,095) on 20 Apr 2014

Locke is everything most of [Steven Knight's past films] aren't, with an identifiable character struggling with real problems, but compressing…

Review of Locke (2014)

By Ed Gonzalez (1,102) for Slant Magazine (8,298) on 19 Apr 2014

The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama…

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