Guy Pearce is a punching bag. He is a man without a past, able to negotiate with or win against authority. This lanky figure, under the shadows of independent cinema, portrays movies’ masculine myths, sleuth, cowboy, king, explorer, diver, fishing on both good and evil. He says your insecurities loud enough for you to hear. I referenced at least five of his movies but he relives them all in the Luc Besson-incepted and Stephen St. Leger and James Mather–directed sci-fi Lockout, a movie set in 2079, while wearing a women’s sized medium graphic tee to expose his veiny biceps, telling audiences he’s not too old to play the Hollywood game of Commonwealth actors working out on the gym to get leading roles. He’s passable as a sellout but let’s be honest, he bagged this role because Hugh Jackman was busy and Pearce wants to buy a condo and put kids through college.
This movie has a plot. Emilie Warnock (Maggie Grace) is on a humanitarian mission to a detention centre on outer space – I feel so stoned typing that – where the prisoners are cryogenically frozen to keep them from assaulting each other. Somehow the American government taxes the rich in this sci-fi. She’s there to check whether the detainees are treated fairly but all goes awry when one escaped prisoner (Brit TV actor Joseph Gilgun) helps lead the hundreds of others into taking the scientists controlling the complex as hostages, including Emilie. The secret service’s (led by Peter Stromare) mission is to rescue the hostages, bringing in maligned rogue CIA agent Snow (Pearce) to rescue Emilie and to hope that the prisoners don’t discover that she’s the president’s. Daughter!
The performances here is interesting, where the supporting cast either flaunt or hide their European accents (Besson by the way has occasionally portrayed America through his European lens), one of the prisoners, suffering from the dementia caused by the freezing, is acting like a Scottish gargoyle. Grace is painfully deadpan as a blonde-tressed damsel with sleepy eyes but all she needs was an impromptu haircut from Snow for her face to open and show her second note, shooting off the script’s witty banter to counter his remarks against her that are so sexist that they shouldn’t be taken seriously. Pearce’s performance here is lazy but it’s also admirable to watch him play devil’s advocate without trying. Together Grace and Pearce play off each other like middle school kids who punch each other as a shorthand for affection, Emilie learning the ropes even though Snow doesn’t readily give them to her.
There are some contrivances in this fictional world that the characters aren’t smart enough to grasp, like when Emilie doesn’t realize that Snow’s friend helps her cause. The movie’s technology is also questionable. But those shortcomings are compensated with its honest execution. Its tone is just like Snow’s philosophy that despite being surrounded by concepts, these characters speak and act as snarky yet competently forceful. It has its share of quotables, referring to kin-hood and character flaws delivered ridiculously. And sometimes a movie not caring about how good it is makes the actors and the set pieces seem like they’re going all out. I’m not the kind who predicts on a movie’s success – and keep in mind that I wouldn’t pay to see this movie – but if this ends up being a cult favourite or a franchise, I wouldn’t be surprised. I’d actually be happy. Image via THR. 3/5