While talking about a recently released Netflix film, I made a (personal) observation that the sentiments around class conflict are becoming convoluted. You see, this particular subgenre of drama was largely geared towards the middle class. I say that because, let’s be honest, the working class probably doesn’t have the time to sit and watch content about how classism is affecting them; they’re living it. Given how the middle class felt that they had been oppressed by the rich, they related with stuff like Knives Out, Parasite, Joker, and more. And then the pandemic happened, and these folks realized that maybe they’re more privileged than they think, and they don’t want to part with some of their luxuries in the name of equality and equity. So, instead of “eating the rich,” they began relating with the rich, which probably contributed to the success of stuff like Succession, Bridgerton, White Lotus, and other narratives centered around the wealthy. Delicious went ahead and said that maybe we can fix the rich. Now, Locked is supposedly stating that we should listen to the rich because they might have some valid points to make.
David Yarovesky’s Locked, adapted by Michael Arlen Ross from Mariano Cohn and Gaston Duprat’s 4×4, tells the story of a man named Eddie Barrish who is struggling to make ends meet. He owes money to a garage owner, Karl, who takes away his van and keeps it as collateral, which keeps him from making deliveries and earning whatever money he was making so far. While negotiating with Karl, we learn that Eddie has a daughter, Sarah, with his former partner, Amy. And due to his financial woes, he is failing to be a good father. So, in a last-ditch attempt to solve all his issues, Eddie resorts to carjacking. But due to modern security technology, he finds it hard to break into a car that easily. Eventually he comes across a very sophisticated SUV and thinks that he has hit the jackpot. He takes his merry time checking it out and imagining all the money he’s going to make off of it. However, when he tries to exit the vehicle, he finds out that he can’t. As he starts coming to terms with his predicament, he gets a call from William, who tells Eddie that he is the owner of the car and he is going to teach Eddie a lesson about consequences.
Ross’ writing in Locked doesn’t really leave a lot of room for interpretation. The long-drawn-out and, frankly, repetitive conversations between Eddie and William underscore all the themes that the movie is trying to explore. Eddie thinks that the laws have been made to favor the rich and to unfairly punish the poor even though lawmakers know that the underprivileged can’t survive if they try to earn money only through legal means. Meanwhile, the wealthy flout every societal and legal norm and fill their coffers to such an extent that they won’t be able to spend all that money in one lifetime, but nobody gives a damn about it. William is of the opinion that economic disparity doesn’t give anyone the right to commit crimes. And he thinks that if the upper class responds to the lower classes’ acts of revolution with some righteous violence, then the former will be treated more harshly than the latter. In addition to all that, it’s also about a father who is trying to do right by his daughter while facing off with a man who thinks he is fulfilling his duty as a father and a grandfather. While all that can seem fine and dandy, it’s the film’s insistence that maybe the antagonist has a point which doesn’t sit right with me.
As long as Yarovesky and Ross are showing that the rich will always use their resources to do some kind of messed-up stuff just because they can and not because they have a point to make, Locked works. There’s even a point where Eddie calls out William for thinking he is a vigilante like Batman, on some crusade of justice, when in reality he is just a psychopath and a sadist who wants to exacerbate the suffering of people because he is in his own prison of pain. But when the film tries to insinuate that that’s the very reason why the poor shouldn’t irk the rich, or that lessons of righteousness (which are coming from the rich villain) should be this extreme to be impactful, I begin to doubt the intent behind this project. That said, as a fan of single-location movies, I did enjoy it quite a lot as well. The cinematography, editing, and sound design are quite exquisite. There’s quite a bit of blood, urine, and sweat. I feel Yarovesky could’ve cranked things up by a few notches to really sell the claustrophobia and desperation of the setting. However, maybe that’s just me, and those who are more squeamish than me will find the film to be adequately disgusting.
Locked solely rests on the shoulders of Bill Skarsgard, and I think he is absolutely fantastic. I know that he has entered a lot of people’s bad books because of that Crow reboot, but I think he has always given solid performances regardless of the project that he is in. He was really funny in Boy Kills World. He was effective in his brief appearances in John Wick 4, Deadpool 2, and Barbarian. He has given his career-best performance in the miniseries, Clark, and I hardly see anyone talking about it. I don’t think you need me to tell you how amazing he is as Pennywise the Clown. I have heard only good things about his turn as Count Orlok in Nosferatu. And I think his work in the role of Eddie Barrish has only enriched his filmography. The manner in which he almost weaponizes his vocals and body language to portray the blend of fear and anger that his character is experiencing is tremendous. Even if the writing falters here and there, he makes sure that you’re rooting for Eddie. I don’t know what I can reveal about Sir Anthony Hopkins’ performance as William, because it’s spoiler-y. Well, he is evil. And watching him light a joint and say stuff like “cancel me” is surreal and hilarious.
Yes, Locked is a remake of 4×4, but it’s definitely not a frame-by-frame copy of the Argentinian film, which is something that’s so common when it comes to remakes nowadays. Without giving anything away, David Yarovesky and Michael Arlen Ross have removed a lot of elements from the original and replaced them with moments that deepen the protagonist’s journey. Whether or not those changes are effective enough completely depends on your views on concepts like class conflict and justice. I have seen a few comments on social media say that this movie is a copy of Locke, and I want to ask those people if they have even watched that Tom Hardy-led film. Just because these 2 movies are set entirely in a car doesn’t mean they are similar in any shape or form. Both of them are worth a watch, that’s for sure. And if you are a fan of movies that take place in some kind of a vehicle, here are some recommendations: Cold Meat, The Plains, Train to Busan, Snowpiercer, Source Code, Snakes on a Plane, Murder on the Orient Express, Horror Express, The Narrow Margin, and Terror by Night.
