Locked

Great movie for a remake/inspiration of 4x4

Hopkins is one of the greatest actors of all time! Even at over 85 years old, he still exudes an intimidating presence that reminds me of Hannibal from the movie. The movie is fantastic, but I was expecting a twist ending like Beetlejuice.

Locked is a slick, tense crime thriller.The concept was really great, interesting and new.Skărsgard and Hopkins deliver!!

I thought the movie was really good! It kept me in the edge of my seat!

[Spoiler] I don't know why dude didn't just call 911 since he had access to his phone lol. [/Spoiler] But it was still a pretty good movie

Good movie. Acting was good and amazing acting by Sir Anthony (obviously). I felt like it was missing a little something, but I’m not sure what. Definitely worth a watch.

This flick was pretty good, not bad. Do yourself a favor and watch this movie.

“Locked” is the kind of thriller that’s built on familiar ground: a down-on-his-luck criminal stuck in a confined space, hunted by a mysterious and powerful figure—but somehow, it still finds a way to dig up some solid, surprisingly sharp reflections from inside its tight little box. David Yarovesky’s new movie doesn’t try to hide its B-movie roots, but it also refuses to settle for being just another genre exercise. By trapping a guilt-ridden man inside a high-tech car that turns into a prison, the film flirts with moral debates and social critiques—even if it occasionally stumbles over its own ambition.

Bill Skarsgård straight-up carries “Locked”—and by “carries,” I mean he screams, bleeds, sweats, panics, and delivers a raw, full-body performance. His character, Eddie, is drowning in debt, bad decisions, and disappointments. The setup is simple: he tries to steal what he thinks is just another empty luxury car, but ends up caught in a literal and psychological trap set by William (Anthony Hopkins, who’s mostly present via voice). The battle of wits between them builds steadily through tense phone calls full of clashing ideologies.

Yarovesky’s direction stands out by turning the tight space of the car into a dramatic arena. The camera never gives you breathing room—it squeezes Eddie into the frame, uses warped angles, and leans into the flickering light inside the vehicle to create this oppressive vibe that mirrors his rising panic. Even with just one location, the pacing rarely drags. The film finds clever ways to use every corner of the car—whether to suggest danger, reveal a hidden trap, or just make Eddie feel even more trapped.

The script plays out like a twisted morality game between captor and captive. William, speaking from the other side of the line, acts like judge and jury, putting Eddie on trial with heated speeches about justice, punishment, and the moral collapse of modern society. These conversations are full of literary references and dramatic soundbites—sometimes they feel more like a podcast monologue than actual dialogue—but they do a solid job of framing the ideological clash: William as the voice of extreme conservatism and vigilante righteousness, and Eddie as a messy, broken man who, in his chaos, reflects a younger generation’s cynicism toward outdated structures.

As heavy-handed as the social commentary can be (and yeah, sometimes it really is), “Locked” also isn’t afraid to lean into its gritty side. There’s graphic violence, gross survival moments, and a tension that—even when it veers into the absurd—keeps you watching. When the car starts moving and the movie shifts into full-blown mayhem mode, it goes darker, more cynical, even sadistic. What started out as a redemption story starts to look more like a moral dystopia, where the line between justice and torture is completely blurred.

Visually, it’s effective without going over the top. The practical effects hit hard, especially when paired with the car’s design—a sleek luxury SUV tricked out with sadistic gadgets that make it feel like a mobile torture chamber. It’s a great example of a film that knows its limits and works smart within them, squeezing tension and style out of a minimal setup.

That said, not everything works. The shift between ideological monologues and brutal horror isn’t always smooth. At times, the movie tries to say something too deep for the kind of story it’s telling, and that mismatch throws things off. When the philosophical debates ramp up and the script starts name-dropping Dostoevsky and ranting about the failure of the justice system, you can’t help but feel like “Locked” is trying to wear clothes that don’t quite fit. It wants to be “Exam” (2009) and “Saw” (2004) at the same time, and it doesn’t fully balance those vibes.

Even so, there’s something genuinely bold about how “Locked” refuses to be just another one-location kidnapping flick. It swings big, provokes, exaggerates—and often lands its punches. Bill Skarsgård, through sheer willpower and gut-level acting, turns a character who could’ve easily been a cardboard cutout into someone you actually care about (even if just a little). Eddie’s journey is messy, painful, and full of bad calls—but the film doesn’t write him off entirely. He’s just another piece in a sick system that lets self-righteous vigilantes play God with people’s lives.

In the end, “Locked” is a tense, visually sharp, thematically restless thriller. It’s not subtle—and it doesn’t want to be. Its critique of social apathy and authoritarian justice dressed up as morality is both blunt and effective. And even when the big speeches start to weigh it down, the tight execution and strong central performance keep it above average in its niche. It’s an uncomfortable, thought-provoking, and, weirdly enough, kind of fun ride.

Interesting at least, it was what it intended to be, decent thrilling movie with high expectations for an explosive ending, could've been more action instead of contemplative but it was good, wouldn't watch again over my long watchlist tho

The ending was pretty good and I really like the cinematography and the camera angles.