About three quarters of the way through this film, a veritable Starfleet of space ships take off from a police station hovering above the Earth to attack an orbital prison that has been taken over by convicts. Now, whilst this was a terrific visual trick with all the usual special effects that are associated with science fiction, it did beg the question as to whether such a facility would just be a massive white elephant for the US Government.
Despite these high production values and its glossy sheen, Lockout has been given something of a critical mauling, which seems a little harsh given that it delivers a solid, if somewhat brainless, 95 minutes of entertainment.
Perhaps the central objection lies with Guy Pearce reprising his usual feckless rebel role. He does a fine job as Snow but it hardly stretches him and it feels like a slightly modified transplant of his Edward VIII from The King's Speech. Nonetheless, he delivers a series of witty ripostes in response to the unsurprising 'you're a loose cannon' sentiments that Snow receives from his handlers at the White House.
Maggie Grace offers a nice turn as President's daughter Emilie Warnock and between them, she and Snow develop an argumentative relationship between hostage and would be rescuer. Emilie is no ordinary first daughter, she matches Snow barb for barb and their constant interplay is a fun addition to an otherwise lacklustre script.
Brothers Alex (played by Vincent Regan) and Hydell (Joseph Gilgun) are the primary threat to the success of Snow's rescue attempt. These two could easily have walked away from an audition for Taggart and onto the set of Lockout, such is the malevolence in their Scottish accents.
Little knowing that they hold such a prominent hostage, the convicts pursue their devilish goals, which remain fairly unclear, and the whole thing develops the feel of a camped up version of Con Air in space. Hardly a moment goes by without a new psychopath with an odd tattoo stumbling into shot.
Indeed, this film is so full of such cliches that you find yourself wondering at times if it is attempting satire. The presence of Luc Besson among the scriptwriters suggests that it may be and much of the subplot which follows Snow's tumultous relationship with Shaw and Langral (his handlers) seems to be a slant on the morally grey world of spying.
Nevertheless, the film never really pushes its viewers as far as thinking. It is true Saturday night filler that seems a bit too pleased with itself.
A b movie with a a few laughs but one that will not live long in the memory.
Disclaimer: I do not own the rights to the photograph used for this blog entry and will remove it at the request of the rights holder.
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