Locke

Locke – Dir. Steven Knight (2014)

Would you like to spend 85 minutes alone in a car with Tom Hardy?

There have been numerous films made featuring a single protagonist trapped in a single location with tension generally the result of incredibly high stakes. In Buried, Ryan Reynolds was buried alive by terrorists while Colin Farrell was at the mercy of a crazed sniper in Phone Booth. Tom Hardy's life may not be at stake in Locke, but it is certainly in jeopardy of being turned irreparably upside-down.

Hardy plays Ivan Locke, a construction supervisor, who, on a normal night, would be heading home from work. His wife Katrina (Ruth Wilson) has prepared a special dinner for him while his sons are eager to watch the big soccer game with him. The next day, Ivan is scheduled to head up a massive concrete pour in Birmingham to build the foundation for a new skyscraper. The concrete pour is described as the largest pour in Europe outside of military and nuclear power plants. However, none of that is going to happen because Ivan is on the expressway to London.

Months ago, Ivan had a one-night stand with a woman named Bethan (Olivia Colman) and she is now giving birth to their child. Bethan is alone at the hospital without any family or friends. While Ivan doesn’t have any strong feelings for her, he sees it as his responsibility to be there with her. Behind the wheel of a BMW, Ivan uses his Bluetooth device to juggle several phone calls to deal with his disappointed kids, an angry wife, and a furious boss. All the while, he is still trying to make sure the concrete pour will go off without a hitch, including giving detailed instructions to an overwhelmed assistant (Andrew Scott aka Moriarty on BBC's Sherlock).

Locke was written and directed by Steven Knight, who previously wrote Dirty Pretty Things and Eastern Promises. Knight made his directorial debut with Hummingbird (released in the US as Redemption), a somber drama starring Jason Statham. It's the rare movie where Statham doesn't solve all his problems by beating everyone's brains out. No surprise that Knight gets another remarkable performance from another actor known for his physicality. This is the same man who broke Batman's back, remember? And who could forget his flamboyantly ferocious turn as the titular convict in Bronson.

With his physical presence limited, Hardy relies solely on facial expressions and steely Welsh accent with the aristocratic air of Hannibal Lecter. Hardy remains calm throughout the ordeal in spite of dealing with a whirlwind of emotions. Hardy is also the only actor we ever see on film. The movie unfolds in real time with the actors calling Hardy's vehicle from a hotel conference room. The cinematography by Haris Zambarloukos (Thor) is reminiscent of Collateral with a yellow tinge and a cold color palette. Knight and Zambarloukos make exquisite use of reflections and passing headlights in the distance.

Knight's noticeable slip-up is the clumsy externalization of Locke's own relationship with his estranged father. From time to time, Locke will have conversations with an invisible figure riding in the backseat.

Locke is more than just a one man show. Knight finds a way to make a seemingly un-cinematic subject utterly cinematic through slick cinematography and a gripping performance by Tom Hardy.

Rating: *** (*****)

Hyde Park on Hudson

Hyde Park on Hudson - Dir. Roger Michell (2012)

Hyde Park on Hudson had all the makings of a prestige picture. It’s based on a true story, features an A-list cast, and helmed by a prominent British director in Roger Michell (Notting Hill, Morning Glory). Yet, the film was quietly forgotten during awards season, except for a Golden Globe nomination for Bill Murray’s performance as Franklin Delano Roosevelt. FDR is ranked high in the presidential pantheon, right alongside George Washington and Abraham Lincoln. He served four consecutive terms as president and shepherded the country through the Great Depression and World War II. Hyde Park is an attempt to humanize FDR and explore the man behind the myth.

The title comes from Roosevelt’s childhood home in upstate New York that hosted a historic visit from King George VI and Queen Elizabeth, the first time a presiding king had come to the United States. Screenwriter Roger Nelson was inspired to explore this intimate summit through the eyes of Roosevelt’s fifth cousin, Margaret “Daisy” Suckey, after correspondence was discovered between the two that hinted at a possible relationship. Nelson originally wrote it as a radio play before adapting it for the big screen.

Laura Linney plays Daisy, a spinster living with her elderly mother, who is called to Hyde Park to ease the President’s mind from stately affairs. There’s an instant attraction between FDR and Daisy though the latter isn’t sure what to make of things considering the presence of the First Lady, Eleanor Roosevelt (Olivia Williams) and secretary Marguerite “Missy” LeHand (Elizabeth Marvel), who is also having a clandestine affair with the President. Amidst all the romantic entanglements come the King (Samuel West) and Queen (Olivia Colman) of England who are hoping to beseech the Americans to join in the war effort against Nazi Germany.

Hyde Park isn’t an accurate portrayal of historical events, but a speculative dramatization. Though there’s no strong evidence to suggest FDR had affairs with Daisy or Missy, it’s been suspected for decades along with a previous affair with New York Post publisher Dorothy Schiff. FDR may be portrayed as a womanizer, but he doesn’t come off as a callous cad due to the likeability of lead actor Bill Murray. Murray doesn’t disappear into the role the way Daniel Day-Lewis did in Lincoln so much as he imbues FDR with the trademark Bill Murray wit and playfulness. Unfortunately, the filmmakers choose to focus on Daisy and Hyde Park grinds to a halt whenever she takes the spotlight. This is no knock on Laura Linney, a tremendously talented actress, but the script does its job too well in painting Daisy as a mousy wallflower to the point she becomes an utter cipher  By sticking with Daisy, the movie loses out on Eleanor Roosevelt’s feelings about her husband’s extramarital activities. It’s hinted that their marriage is nothing more than a political convenience, but Eleanor fades into the background for the most part. That’s a shame because Olivia Williams gives a forceful performance in the scant amount of scenes she is given.

Hyde Park picks up steam when the royals enter the picture. Their story could be seen as something of a sequel or companion piece to The King’s Speech. For argument's sake, let's ignore Madonna's ill-conceived W.E. King George VI, who suffers from a terrible stammer, has awkwardly taken the crown following his older brother’s abdication. The Queen isn’t particularly fond of Americans and it’s clear that they don’t fit in. Her Royal Highness is apoplectic when the President insists on serving them cocktails and hot dogs. However, that hot dog turns out to be a clever gambit on FDR’s part to turn the King into a relatable Joe instead of a stuffed shirt. A father-son relationship emerges between the King and Roosevelt during a tender moment of bonding over their respective ailments. His Majesty bemoans his crippling speech impediment while Roosevelt points to his battle with polio.

In spite of a quick 90 minute runtime, Hyde Park on Hudson was one of the most laboriously tedious movies I've experienced in a while. There are sporadic splashes of brilliance that are overshadowed by a dull protagonist and a myriad of subplots stumbling over one another.

Rating: * ½ (*****)

The Iron Lady

The Iron Lady - Dir. Phyllida Lloyd (2011)

Meryl Streep has earned an unparalleled seventeen Academy Award nominations while taking home the gold statuette for Kramer vs. Kramer and Sophie's Choice. It seemed a foregone conclusion that Streep would win a third Oscar for her performance as Margaret Thatcher in The Iron Lady. Indeed, Streep continues to cement her reputation as a chameleon following memorable performances as the icy fashion editor Miranda Priestly in The Devil Wears Prada and the affably eccentric Julia Child in Julie & Julia. She has an overwhelming command of the film whenever she is on screen and her portrayal of Thatcher goes beyond mere mimicry. It is unfortunate that the screenplay and the direction of The Iron Lady aren't on par with Streep.

The Iron Lady opens in 2008 with a meek and elderly Thatcher attempting to buy milk at the corner store. It's an ironic situation given that she cancelled the schools' free milk program as Secretary of Education, earning her the derisive nickname of Thatcher the Milk Snatcher. Once she was the first woman to become Prime Minister of the United Kingdom and the person to serve in that office for the longest term of the 20th century. Now, she struggles with dementia while carrying on imaginary conversations with her late-husband, Denis (Jim Broadbent).

Flashbacks tell the story of a young "Maggie" (Alexandra Roach) growing up idolizing her father, Alfred Roberts (Iain Glen), a grocer and alderman. She eventually marries Denis (played in younger years by Harry Lloyd), whose lighthearted sense of humor counters the serious demands placed upon Thatcher's political career. As she slowly rises in the ranks of Parliament to become Prime Minister, Thatcher deals with the dismissive and chauvinistic attitudes of her peers. Her time as P.M. is marked by terrorist attacks, economic strife, violent protests, and war. Sound familiar?

The Iron Lady takes a decidedly feminist viewpoint of its subject thanks to the involvement of director Phyllida Lloyd, who previously worked with Streep on the musical Mamma Mia, and screenwriter Abi Morgan, who co-wrote Steve McQueen's Shame. She's tough as nails, but still a lady. She'll declare war in the Falkland Islands while kindly pouring tea for Alexander Haig. Thatcher as a woman fighting for survival in a man's world is hammered home by an overhead shot of her in a blue dress sticking out like a sore thumb in a sea of well-tailored suits. Another shows Thatcher being ushered into the lady's lounge of Parliament, equipped with a single chair and an ironing board. At one point, we are treated to a King's Speech sequence when Thatcher undergoes vocal lessons as part of an image makeover enacted by her advisors.

Those expecting The Iron Lady to glorify or vilify a polarizing figure in political history will be disappointed. Neither Lloyd nor Morgan takes a strong stance one way or another about Thatcher's hardliner policies against the IRA and the Soviets or her staunch opposition to labor unions. As a result, Iron Lady lacks any sort of bite or substance. It doesn't help that the filmmakers rely heavily on montages to skim over some of the most important events during Thatcher's term, such as the Falklands and the crippling labor strikes. And Lloyd seems to absolutely love shots of Thatcher riding in the back of a limo as angry protestors slam their fists on her window. Things veer dangerously close to camp during a sequence depicting the IRA's bombing of the Grand Hotel in an attempt to assassinate Thatcher and most of her cabinet as well as the car bombing that killed her campaign manager Airey Neave. The latter scene shows Thatcher, in heels, rushing to the burning wreckage. Why not just have her fly back in slow motion, and then raise her fist to the sky to scream, "Noooooooo!"

It should be noted that The Iron Lady does have a few positives to be noted, aside from Streep. She may have been overshadowed by the film's star, but Alexandra Roach does a splendid job as the young Margaret Thatcher and there are solid turns by Richard E. Grant and Anthony Stewart Head as members of Thatcher's inner circle.

The Iron Lady reminds me of another tepid biopic, Clint Eastwood's J. Edgar. Though the make-up here is a darn sight better than what was slathered on Leonardo DiCaprio, both pictures are shallow and bogged down by silly narrative devices. The Iron Lady is a prime example of a great performance trapped inside a bad movie.

Rating: * ½ (*****)