Director David Yarovesky proved with 2019's underrated Brightburn that he can craft a lean and gory film. The unconventional superhero movie was a nasty and bloody bit of work. His latest, Locked, features two horror icons, Anthony Hopkins and Bill Skarsgård, that go head-to-head in a tense, class-conscious thriller. Like Brightburn, Locked doesn't skimp on the gore, even while delivering its not-so-subtle message.
Coming off his performance as Count Orlok in Robert Eggers' remake of Nosferatu, Skarsgård plays a petty thief named Eddie Barrish who can't even afford to repair his van. Because of this, he can't make deliveries and earn money in an honest way. So, he resorts to thieving. Yet, immediately, the film portrays Eddie in a nuanced light, not merely as a criminal. For instance, he has a daughter, Sarah (Ashley Cartwright), who he generally cares for. That said, he's not about to win father of the year. He forgets to pick her up at school, for instance, and it's apparent that it's happened before.
Desperate for a vehicle, Eddie breaks into a luxury SUV. That's when the real fun begins. The vehicle belongs to the uber-wealthy William (Hopkins). Operating the vehicle remotely, William locks Eddie in the car, tortures, and punishes him, all while railing about a justice system that rewards thieves, the unhoused, and addicts. William certainly fashions himself the long arm of the law, taking matters into his own hands.
Initially, William's story feels a bit flat, at least compared to Eddie's. However, it becomes apparent why William harbors such rage and why he continues to punish Eddie, even after he apologizes again and again. Without spoiling anything, let's just say that William knows profound loss, though it doesn't really justify the number of times he zaps Eddie, or denies him food and water.
As much as Locked plays like a gruesome joy ride, it's also a commentary on classism. This is evident from some of the opening shots and fast cuts of the city, showcasing tents and the unhoused. Meanwhile, Eddie at times rants about the one percent to the point it sounds like he would have attended Occupy Wall Street rallies more than a decade ago. In contrast, William trumps up his humble beginnings and how he pulled himself up by the bootstraps to earn his wealth. Some of these diatribes come across as too heavy-handed. The messaging works better when the city's visuals illustrate the class divide better.
In terms of performances, Skarsgård, sporting a pink hoodie and blonde hair, is great, giving his character depth and really ratcheting it up in the last act. Hopkins, who really isn't fully shown until the last 30 minutes or so, never phones in a performance. That's true here. He's a devious, cunning, and sadistic villain, tormenting Eddie without remorse. Hopkins and Skarsgård's eventual interactions are some of my favorite scenes from any film thus far this year. They push each other to an explosive conclusion. We should be grateful for the chance to see them in a film together at the twilight of Hopkins' career.
Locked is an entertaining and bloody ride that never takes its foot off the pedal. Though the messaging is a bit too heavy, Hopkins and Skarsgård push and push, making for one heck of a fun face off.
Locked opens in theaters on March 21.