David Yarovesky drew me in with this poster and trailer alone. Reading the names of Bill Skarsgård, Sir Anthony Hopkins, and producer Sam Raimi, I was excited to watch Locked. A stolen car is an excellent location for this creative thriller. How and why? Is this a personal revenge tale or a sick Collector-like psycho on the loose? Most importantly, how sick is this story going to end? Do not worry. You will get no good answers and only more questions. What was the reason?!
Same Old, Same Old
To be short, Eddie (Skarsgård) is the typical deadbeat who can’t prioritize his child over being a thief, crook, and loser. Like a mouse to cheese, He breaks into a luxury SUV for some quick cash and finds himself caught in a trap set by William (Hopkins), a vigilante. Lacking an escape route, Eddie must fight for survival as he navigates through William’s twisted web of justice.
First, everything is straightforward, and nothing is complicated in the first act. We know what’s happening and follow along as Eddie tries to escape. William is a total stranger, and we wonder what he will do to Eddie and if Eddie has some sick lesson to learn. The immediate panic and the continued struggle to break free sound exciting. Additionally, the small interior is an excellent space to introduce claustrophobia. Moreover, there are only a few ways out and no water or sustenance.
Going Nowhere
Halfway through Locked, I was intrigued but still feeling nothing from the pair. Eddie is trapped for hours, which turns into days. Every moment with no control over his life, nothing to eat or drink, leaves him exhausted and not thinking clearly. In his delirium, what can he do? Unfortunately, the circumstances lead us to question why William would torture someone that he would have to keep alive for a while in a parked car. He has to be able to provide water or some kind of aid, and this is where William’s plan loses me.
I wanted to feel the unease, panic, and desperation. However, concentrating on William’s plan and how we wanted Eddie to feel was distracting. Less is more. A heavier focus on Skarsgård’s performance is more compelling without interruption. We know Sir Hopkins’ voice and presence. He could have just been a voice, and he’d still sound menacing. Think Ted Levine in Joy Ride (2001). An unknown entity, this stranger, torturing a car thief for thrills—I’d watch that.
Let Me Out
Overall, the script was okay, the action was mid, and the characters were not great. I felt a complete disconnect from the two. Hopkins and Skarsgård were incredible, as always. But they suffered from a poorly fleshed-out plot. I liked those tense moments where William always had the upper hand. The futility and the suffocating fear of being trapped in a small space shone through strongly. Despite these, it wasn’t exciting. I give it 2/ 5 stars for being frustratingly empty and devoid of substance. I will add now that I have lost count of all-white casts in movies this year. ‘Oh, but there’s a POC in that chop shop?’ How DEI of you. I feel represented.
Locked is only in theaters on March 21st.
