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Original Title: Lockout

Genge: Action,Adventure,Sci-Fi,Thriller

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A man wrongly convicted of conspiracy to commit espionage against the U.S. is offered his freedom if he can rescue the president's daughter from an outer space prison taken over by violent inmates.
Set in the near future, a falsely convicted ex-government agent has one chance at obtaining freedom. He must undertake a dangerous mission to rescue the President's daughter from rioting convicts at an outer space maximum-security prison.
This was a good, but somewhat implausible story, and it could have been a good or even great movie except for the unbelievable and unbelievably bad, stiff & wooden acting by Guy Pearce and others. But it wasn't just Guy Pearce's stiff portrayal; the portrayal of the President was lame and unemotional, the Warden was, well, I think you get the picture. Was it the one-liner dialogue that did the movie in, or was it the bad acting that revealed the clichéd dialogue to be what it is, resulting in one-dimensional, stereotypical action-hero-movie portrayals? This movie tries way too hard to be Die Hard in space. The sane convict brother was a more likable guy than the hero, and the only decent acting was done by a few actors including Lennie James (Shaw) and Vincent Regan & Joseph Gilgun, the sane and insane brother convicts who drive the movie. Because the movie was so dismal, their acting ends up shining like diamonds in a coal bin which can only help but further their careers. I'm left wondering which came first, the chicken or the egg? Was it the bad dialogue and script that soured the acting? Or was it the acting that curdled the dialogue? It had to be a combination of both; the end result of which equals a wasted half- hearted effort of a movie.
OK, so lets begin with the plot, as much as it is. It is the year 2079 and criminals from all nationalities (however still under the watchful eye of the USA) are now being locked up in space on board vessels such as Maximum Security 1 (M.S.1). The most serious criminals are kept in stasis for the length of their sentence. For some inexplicable reason the US Secret Service lets the President's daughter Emilie Warnock (Maggie Grace) visit M.S.1 as part of a research project into the potential adverse affects of stasis. During her visit the prisoners escape and she gets Taken (see what I did there…..) hostage. In swoops Guy Pearce, a CIA agent who has been wrongly accused of espionage and given the opportunity to break into M.S.1, free Ms Warnock and clear his name all in one fowl swoop. Game on.

Lets not beat around the bush here, Lockout is great fun. It is clearly not trying to take itself too seriously and right from the outset is filled with nods towards Tony Scott's Last Boy Scout, Die Hard and even later on in the film The West Wing and Star Wars. Whilst this may sound like a strange combination, in fact Besson (who was credited with the original "idea") dishes up one hell of a ride with a script full of clinical one liners, some impressive fight scenes and just huge amounts of fun.

Guy Pearce channels his inner Bruce Willis to good effect and appears to be having a great time along the way. The opening scene which is cribbed almost directly from The Last Boy Scout sets the scene for what is to come. Pearce is one brutal, unflinching and sarcastic SOB, but importantly he is also convincing. There was danger here of Pearce coming across as a cheap imitation of John McClane or Joe Hallenback, however Pearce genuinely stakes his own claim as a credible fast talking, wise cracking action hero. Some of Pearce's best moments are in that opening scene, but there are also some wickedly sharp exchanges with Maggie Grace who plays the President's daughter and the two work off each other well. Grace who appears to be making a career out of getting taken hostage is a little two dimensional at the start but quickly finds her feet once the bullets start flying.

The sleepy prisoners who all appear to be from Glasgow are led by a convincing Vincent Reegan who plays the Hans Gruber role to good effect without getting too hung up on missing detonators. He is ably supported (and hindered) by a slightly unhinged Joseph Gilgun and it is worth warning any regular viewers of Emmerdale that they are in for a bit of a surprise once the figure out who he is. A slight departure from Dingle household to say the least.

The direction is a little dodgy at the start with a poorly executed first act and a motorbike chase seen which looks something akin to a cheap batman video game and perhaps suggests the level of budget they were working on. I would however beg some patience as once the action moves to space and the close confines of M.S.1 things improve dramatically.

Lockout is perfect Friday night beer and pizza fodder. It's not trying to be anything its not, and it does what it does really quite well. If you ignore the gaping plot holes and the dodgy script but keep a tally for all the cameos you spot and drink a shot for every time there is a nod towards another film you'll be in for a great evening. In fact that sounds like a fun night; can I come round? Movies like this are supposed to be ridiculous on some level. It's part of the fun. But, dang. Falling through space, popping your parachute and landing on the one empty stretch of freeway in some bustling future city? C'mon. We all have our limits.
Guy Pearce met with Luc Besson at the beginning of 2010 in LA to discuss the film and then met with Stephen St. Leger and James Mather a few months later. He thought the script felt original, which is always what he is looking for. He also liked the idea of playing an irreverent character like Snow. He was drawn to him because he's not the typical action hero. He exhibited a lazy and exhausted quality.It has quite some tradition that some of writer/producer Luc Besson's movies get censored for a more profitable PG-13 rating. The censorship for the PG-13 rating is obviously no unknown territory for the filmmakers in Besson's team since they managed to take the edge off it very well by applying almost every tool one could think of. Next to using harmless alternate takes or simply cutting something out, the PG-13 also delivers a censored dialogue, audio line and even digitally manufactured visual alterations (and maybe even blood that's not quite as red as it is normally). A lot of effort to make a film that is usually aiming at experienced B-action buffs suitable for teenagers.

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