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Drama . Thriller

Ivan Locke has worked hard to craft a good life for himself. Tonight, that life will collapse around him. On the eve of the biggest challenge of his career, Ivan receives a phone call that sets in motion a series of events that will unravel his family, job, and soul.

Actors: Tom Hardy , Ruth Wilson , Andrew Scott , Olivia Colman , Tom Holland , Ben Daniels , Bill Milner , Alice Lowe , Danny Webb , Lee Ross
Directors: Steven Knight
Country: UK , USA
Release: 2014-04-18
More Info:
  • Steven Rea

    That is the sum of writer/director Steven Knight's movie: a man, a car, a hands-free mobile device. And it is extraordinary.

    Philadelphia Inquirer Full Review
  • Ann Hornaday

    Locke is so distilled, such a pure example of cinematic storytelling, that it almost feels abstract.

    Washington Post Full Review
  • Richard Roeper

    In writer-director Steven Knight’s mesmerizing jewel of film titled Locke, Tom Hardy is so brilliant we readily watch him drive a car and talk on the hands-free phone for virtually the entirety of the film — and it’s one of the more effortlessly intense and fascinating performances I’ve seen any actor give in recent memory.

    Chicago Sun-Times Full Review
  • Alonso Duralde

    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 film today. He and Knight remind us that artists can astonish with the simplest of methods.

    TheWrap Full Review
  • Joe Morgenstern

    Tom Hardy, the actor who plays him, is by turns spellbinding, seductive, heartbreaking, explosive and flat-out thrilling. At a time when the studios are spending vast sums of money on a bigger-is-better aesthetic, here's a chamber piece with the impact of high drama.

    Wall Street Journal Full Review
  • Chris Nashawaty

    Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen. But even with nothing to cut away to and no flashbacks to offer context, the film manages to stay as tight as a vise.

    Entertainment Weekly Full Review
  • Marc Mohan

    It's a fascinating instance of a filmmaker working with self-imposed rules, but never forgetting that those restrictions are only worthwhile to the extent that they serve character and story. It's a ride well worth taking.

    Portland Oregonian Full Review
  • Lawrence Toppman

    Nobody fires a shot. Nobody topples a kingdom. But as Ivan Locke’s life unravels behind the wheel of his car, which he drives almost from the first frame to the last, we can’t look away.

    Charlotte Observer Full Review
  • Bill Goodykoontz

    It is exceptional acting, and Locke is a tremendous piece of filmmaking.

    Arizona Republic Full Review
  • David Edelstein

    I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.

    New York Magazine (Vulture) Full Review
  • Kenneth Turan

    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 bring to the table.

    Los Angeles Times Full Review
  • David Rooney

    No less impressive than the narrative mastery here, however, is the technical execution of this bold minimalist experiment.

    The Hollywood Reporter Full Review
  • Kimberley Jones

    A restless, nervy actor, Hardy seems to get a kick out of tying one hand behind his back. He dominated "The Dark Knight Rises" even with a modified ball gag obscuring most of his face. Here, locked behind a steeling wheel and a conceptual gimmick, he only has the upper half of his body to work with. No surprise to anybody who’s been paying attention: Half a Hardy adds up to a hell of a lot.

    Austin Chronicle Full Review
  • Ty Burr

    The seductively gripping cinematic stunt that calls itself Locke bears a slight resemblance to the recent “All Is Lost.”

    Boston Globe Full Review
  • James Berardinelli

    The real wreckage in Locke is to the main character's old life, and the manner in which it is depicted makes this one of the year's most intriguing motion pictures.

    ReelViews Full Review
  • Glenn Kenny

    In the end, Locke is a cinematic stunt that engrosses as it unspools, and pays dividends after it’s been accomplished. Full Review
  • Peter Travers

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

    Rolling Stone Full Review
  • Oliver Lyttelton

    A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.

    The Playlist Full Review
  • Manohla Dargis

    Mr. Knight keeps a fairly steady distance from Ivan — underscoring certain tense passages with tighter close-ups — but moment by moment, with a twitch, a shudder, a look, it’s Mr. Hardy who movingly draws you in, turning a stranger’s face into a life.

    The New York Times Full Review
  • David Ehrlich

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

    The Dissolve Full Review
  • Daniel Green

    Locke never shies away from from thrusting 21st concepts of masculinity into the full glare of the high beams, exposing its morally complex protagonist at his most vulnerable before triumphantly rebuilding him from the foundations upwards. Don't miss it.

    CineVue Full Review
  • Olly Richards

    There are films to see on huge screens, but this is one that almost cries out for a small cinema, surrounded by total blackness. It’s a daring experiment brilliantly executed, with Tom Hardy giving one of the performances of his career.

    Empire Full Review
  • Leslie Felperin

    This ingeniously executed study in cinematic minimalism has depth, beauty and poise.

    Variety Full Review
  • Dave Calhoun

    A masterclass in how the most local, most hemmed-in stories can reverberate with the power of big, universal themes.

    Time Out London Full Review
  • Robbie Collin

    If you are asking an audience to listen to one man talking for an hour and a half, you had better make sure he is worth listening to, and minute-by-minute, Hardy has you spellbound.

    The Telegraph Full Review
  • Liam Lacey

    The combination of Hardy’s almost androgynous features and powerful physique evokes a young Marlon Brando, and while it’s premature to say he has a talent to match, he has emerged as one of the screen’s most versatile and compelling presences. Locke is what you might call his sedentary tour de force.

    The Globe and Mail (Toronto) Full Review
  • Mick LaSalle

    Cinema is not about special effects, but about human emotion and a face in close-up. For those in doubt, Locke is the proof.

    San Francisco Chronicle Full Review
  • Michael Phillips

    Twenty minutes in, Hardy notwithstanding, you might be tempted to bail on Locke. Don't.

    Chicago Tribune Full Review
  • Roger Moore

    Locke will hold your interest as it presents a side of the burly, bluff “Dark Knight” villain we have never seen before on screen.

    McClatchy-Tribune News Service Full Review
  • Kyle Smith

    A captivating Tom Hardy is in the driver’s seat for the one-man show Locke, but like many experimental films, this one suffers from its self-imposed constraints.

    New York Post Full Review
  • Rex Reed

    Heading toward his destination as a decent man facing ruin by doing the right thing, Mr. Hardy does a great job acting out the phases of anxiety frustration, confusion, exasperation and ultimate resolve — while working overtime to save a movie that takes place entirely on a cell phone from getting boring.

    New York Observer Full Review
  • Ed Gonzalez

    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 therapy.

    Slant Magazine Full Review
  • Mike Scott

    Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.

    New Orleans Times-Picayune Full Review
  • Alan Scherstuhl

    What director Knight excels at is continually inventive framing and composition, at suggesting, through layers of window and reflected traffic, the mental state of Locke, the hero.

    Village Voice Full Review
  • Rene Rodriguez

    As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.

    Miami Herald Full Review
  • A.A. Dowd

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

    The A.V. Club Full Review
  • Xan Brooks

    Full credit to Hardy and Knight for making a film such as Locke. Low-budget film-makers could learn a lot from their method. And yet – having stripped away all but the bare necessities, having reduced the components to a car and a man – they make a classic error of overcompensation.

    The Guardian Full Review
  • Matthew Smith

    This film plays a trick on you, you keep waiting for something to be revealed or a big twist, somthing. All awhile your conjuring up theories on how things are going to play out, none of them are right. It makes you tense, anxious and leaves you completely mythed. Its hard to call this a film, more like a scene that lasts longer than an hour and then the end credits happen and your still there waiting for for the second act to begin. But saying all that. I liked this movie. It was a thought provoking experience that entice my imagination for a while then brought it all crashing down to reality and left everything else open to your interpretation. Its a work of art and tom hardy killed it. end credits.

    Full Review
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