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Posts Tagged ‘Maggie Grace’

Ho, hum: time to catch up with another One That Got Away from earlier in the year. I can’t, off the top of my head, recall exactly what else was out at the same time as James Mather and Stephen St Leger’s Lockout that was more of a priority, but I’m guessing it was something like The Avengers or The Cabin in the Woods. I don’t recall this movie having a particularly lengthy theatrical run, anyway, which is hardly a surprise given it’s very obviously an off-the-peg genre movie, possibly made more enticing by the fact it’s another product of Europacorp (aka Luc Besson Inc.). The film’s claim to be based on ‘an original idea by Luc Besson’ caused much merriment at the time, as – so it was claimed – Luc Besson has clearly never had an original idea in his life. A little harsh, I think – but then again I am an unrepentant Besson fan.

Anyway, Lockout sees the maestro making a rare venture into full-on sci-fi. Guy Pearce plays Snow, a CIA agent of the year 2079. We immediately see that Snow is a) a hard case and b) a smart-arse, as demonstrated by an opening scene in which he is relentlessly beaten about the head but continues wisecracking regardless. Snow is in the frame for the sale of secrets, and due to be packed off to prison. However…

The prison in question is MS One, a maximum security prison in Earth orbit. (Yes, just settle back and let the silly preposterousness of the whole thing wash over you like a wave of fudge sauce. Mmmm!) Therein, super hard-cases are kept in suspended animation for the duration of their sentence (which inevitably leads one to ask… no, just sit back and savour the fudge. Mmmm!). Anyway, paying a visit to MS One is the daughter of the US President (the comely Maggie Grace, rapidly becoming a Besson rep company member) – unfortunately, while she is there, there is a security issue resulting in all the prisoners being defrosted and the staff (and herself) being taken hostage.

So, inevitably, Snow is offered a deal whereby he will infiltrate the prison and rescue the first daughter. He agrees, but he has an ulterior motive: one of the other inmates has information which may allow him to clear his own name…

There is obviously a sense in which Lockout is a movie which you have already seen before – possibly many, many times. Do I even need to list the donors which contributed to Lockout‘s premise? We can start with Escape from New York and Die Hard, and work our way down past Con Air and many others. Now, you’ll probably respond to this in one of two ways: with a sigh from the depths of your soul and a cry of ‘Oh God, not again!’, or with a strange sense of cosiness, and inexplicable confidence that genre rules are going to be well and truly respected.

I am in the latter camp, obviously: of course you know that the guys at the top of the situation are going to prove to be useless donkeys, that the leading lady is going to be threatened with all kinds of horrors (none of which will actually get visited upon her), that there will be chemistry between the two leads ultimately building up to the promise of whoa-ho-ho, that minor heroic characters will improbably sacrifice themselves, that the villainous roles will be performed in an arguably overenthusiastic manner, and so on. But it’s a genre movie and so these sorts of things are only to be expected. It’s not the ingredients, it’s the recipe, anyway.

That said, Lockout (a fairly inexplicable title) is a compromised movie in all sorts of ways. The basic structure is fine, along with most of the production values – but it’s afflicted with the same sort of heftless CGI sequences which I had such a problem with in Iron Sky, amongst others. The effects sequences set on Earth – in particular a bike chase – are painfully unconvincing, too.

The meat of the movie is the prison-riot-in-orbit stuff, which is mostly okay – I was irked by the repeated use of captions to identify locations and characters, which I found somewhat excessive, but amused that space is apparently under the jurisdiction of the LOPD (that’s the Low Orbit Police Department) – but the movie is bookended by a subplot about Snow being framed for the murder of a friend, secrets being sold, a traitor in the CIA, and so on. This is much more complicated than the main plot but only gets about 15% of the screen time! It is, of course, just a plot device, but that doesn’t mean it has to be quite so muddled.

However, I am prepared to cut Lockout a tremendous quantity of slack just because of Guy Pearce’s performance as the hero. Pearce is one of those actors who’s had a pretty good career without headlining that many major movies – checking his filmography I discovered I’d seen many more of his films than I thought I had, but usually ones where he’s in a supporting role some way down the cast list. Here he is the leading man and gets the tone of his performance exactly right for this sort of film.

Pearce smart-arses his way through Lockout and appears to be having enormous fun – he’s not too bad in the action sequences, either. He is helped by a script which is extremely good at coming up with decent jokes for him to deliver – such as when Grace’s character reveals an unexpected proficiency with automatic weaponry. ‘I thought you were a Democrat!’ cries Snow in surprise.

Well, maybe the jokes aren’t that great, but Pearce sells them well, and both they and he are really better than a film like Lockout honestly deserves (the same could probably be said of Vincent Regan’s turn as the chief bad guy). As a result, Lockout is more than just the production-line piece of hokum it probably should be. Not much more, to be honest, and I’m not sure SF is really Besson’s thing, but enough to make it a fun, if undemanding, watch.

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