Tom Hardy is back. Better? Definitely beardier. Along with another strange accent. Unfortunately boyo I had to Google that you were trying to be Welsh. I thought he was doing a broken South African mish-mesh of an accent. Anyway, I digress. A strange exercise that tests the acting abilities of the charismatic actor but unfortunately at times tests the very patience of the viewer. I am just sitting here. Driving a car. Okay? That is pretty much the premise of Locke.
85 whole minutes of our leading Locke talking, swearing, revealing not so dramatic revelations and dealing with the aftermath as he drives down the motorway. I can appreciate Steven Knight’s ambition with a talented lead actor, this had all the potential to be something so much more. Attempts have been done before with one actor, one scenario for an extended time. Buried, Cast Away, 127 Hours come to mind. I’m sure you can think of others, hell even better ones. Now I’m a huge fan of Knight. I loved his previous efforts; Dirty Pretty Things, Eastern Promises and the underrated BBC gangster series Peaky Blinders.
Interestingly enough Knight has recruited Hardy for the second series. However, Knight isn’t perfect by any means. Let us not forget the humdrum Hummingbird. However, he did get a convincing turn out of The Stath. I don’t really want to divulge into the story line. There is a dramatic incident that has caused Locke to drop everything he is doing and get on that motorway. When it is first revealed, it is quite suspenseful and tense. However, once the said incident or twist is revealed and Locke has to wait for the aftermath, we are left with his character talking to an empty seat supposedly possessing the metaphorical spirit of his dead dad or banging on about concrete.
I kid you not. I have now been educated in concrete. I did not know how important it was in the structure of a building. Consider myself told. The main problem is that even with Hardy’s conviction and stamina, it comes off almost like a parody. You feel like he is taking the mick out of himself. Random tantrums, weird accents, it’s all there. I was impressed with the cast. Well, the voices. They do their utmost to keep this project from flailing.
Olivia Colman provides the plaudits once again following an award winning turn in Broadchurch. Even if it is in reduced phone call tit bits. Ruth Wilson (Luther/The Lone Ranger) managed to make a mark, especially in the closing minutes as Locke’s wife. Ben Daniels’ character, appropriately labelled on Locke’s phone as the Bastard, brought the odd laugh. Intentional is another matter. The main scene stealer, however, is (Did You Miss Me Moriarity) Andrew Scott as the dimwit drunkard Donal. Scott manages to provide a much needed comic relief to something that just should be more dramatic but really isn’t.
Locke’s intentions and behaviour are bizarre but not completely unjustified but somehow it just doesn’t quite hit it for me. And for all his crazy driving, I expected a different finale but was left deflated and scratching my head. A topic that certainly has moments of well-acted, or well voiced moments, but really could or should have been put on Film Four as a TV movie. Nothing more.
Hardy manages to get this stuttering old (been there seen that) banger to its intended destination but I just wish they had given him a better vehicle on a better route if you get my drift. A missed opportunity for an ever growing prolific actor 2.5 out of 5!
Currently ranks #142 out of 182!
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