Lockout Reviews

Like 2008's Taken and several other recent action films produced by French filmmaker Luc Besson, Lockout feels like a cinematic relic from the 1980s or 1990s, and in no way is that a bad thing. With modern blockbusters becoming too overcomplicated and too reliant on digital effects (see John Carter, Wrath of the Titans, and Battleship), Besson's EuropaCorp production company routinely churns out the type of simplistic, old-school action films that become rarer and rarer with each passing year. Although 2012's Lockout is unoriginal and silly, it is also incredibly fun - an endearing throwback science fiction actioner that might have starred Arnold Schwarzenegger or Sylvester Stallone if the movie entered production twenty years prior. Although imperfect, it is a joyous guilty pleasure guaranteed to satisfy action connoisseurs seeking an entertaining beer and pizza movie.


In 2079, sardonic CIA agent Snow (Guy Pearce) is framed for the murder of a U.S. Colonel and receives a thirty-year prison term on MS One, a maximum security prison floating above the Earth where prisoners are placed into stasis for the length of their sentences. Meanwhile, the President's daughter, Emilie (Maggie Grace), visits MS One to investigate reports that prolonged periods in stasis lead to dementia and mental instability. However, a riot breaks out when a deranged inmate, Hydell (Joe Gilgun), breaks free and releases all of the prisoners. With Emilie among the hostages, CIA officer Harry Shaw (Lennie James) believes a siege is too dangerous, recommending that they instead send in a single man on a rescue mission to retrieve Emilie. Although initially unwilling to help, Snow learns that boarding MS One could be the key to his freedom, which motivates him to accept the assignment. After sneaking aboard the MS One, Snow works to transport the stubborn Emilie to safety while seeking to locate information crucial for proving his innocence.

Although marketed as Die Hard in a futuristic Blade Runner setting, and even though the movie is billed as "based on an original idea by Luc Besson," Lockout amounts to an unauthorised remake of John Carpenter's Escape from New York. The story is strikingly similar, as both films involve an incarcerated criminal venturing into a dangerous setting to rescue a high-profile political hostage while bureaucrats oversee the operation and communicate with the hero. Carpenter himself noticed that Lockout essentially plagiarised Escape from New York and Escape from L.A., and he successfully brought legal action against the filmmakers. Fortunately, the flick is still a fun ride despite feeling narratively derivative, with spirited action scenes and brisk pacing, though it is not as thoughtful as Blade Runner or as brilliant as Die Hard - instead, it is pure B-grade cheese. And, heavens me, the cheese flows like running water. Snow is a wisecracker in the vintage action hero mould who is fluent in sarcasm and always has witticisms at the ready. Refrain from expecting depth or nuance from the characters, with Snow lacking meaty dimension while the bad guys merely exist to act menacingly and commit villainous acts. Nevertheless, the script's wit and humour keep things entertaining.


Produced for a modest $20 million, Lockout provides action and thrills on a limited budget, though the ropey digital effects are occasionally distracting. See, for example, a vehicular pursuit early in the flick featuring woeful computer-generated imagery that would not pass muster in a PlayStation 2 video game. Fortunately, the visual effects improve when the action shifts to MS One, with the ship exteriors looking more competent and passable, but none of the CGI is particularly photorealistic or commendable. Although the special effects in films like Escape from New York are imperfect, practical model work is more endearing and tangible than phoney computer renderings. Lockout's humdrum digital cinematography further detracts from the sense of visual realism, as there is little doubt that shooting on 35mm film is far more appropriate for throwback action movies. Furthermore, the feature has its fair share of idiocy, including a preposterous climactic evacuation from MS One that shows a primary school-level grasp of science and physics. Ultimately, Lockout is more involving and exciting during the grounded action beats, with directors James Mather and Stephen St. Leger staging effective shootouts and fights. Although not ultraviolent, there is enough of a visceral kick to the action scenes that genre buffs will appreciate.

It is easy to admire EuropaCorp's track record with actors, as they manage to attract recognisable, talented performers despite meagre funding. Australian actor Guy Pearce is not an obvious choice to play a sarcastic action hero in the tradition of John McClane and Snake Plissken, but he nails it and is one of the production's biggest assets. Pearce looks the part with a muscular physique, while his sarcastic bravado and masculine personality make him a likeable and engaging protagonist. Entertaining and colourful, Pearce looks more badass than the twentysomething actors Hollywood keeps attempting to position as action heroes (Taylor Lautner, for example). The reliable and charismatic Lennie James (Snatch, The Walking Dead) provides capable support, bringing a touch of class to the material. Additionally, Peter Stormare (The Lost World: Jurassic Park, Prison Break) sinks his teeth into his sleazy, semi-antagonistic role, and his banter with Pearce genuinely sparkles. Maggie Grace (who previously starred in Taken) is a fine if unspectacular addition to the cast, while the prisoners ham it up big time, with Joe Gilgun a notable standout as an unhinged psychopath with a strong accent.


Like most of EuropaCorp's action movies, there is both a PG-13 and an unrated cut of Lockout to maximise the movie's commercial performance. Unsurprisingly, the unrated version is far superior, as the slopping editing and camerawork in the PG-13 cut are unforgivable. The cinematography is marginally superior in the unrated cut, but a tripod would still be appreciated. Despite its flaws and shortcomings, Lockout delivers unpretentious B-movie fun with goofy charm and enthusiasm, and Pearce demonstrates he has what it takes to play more action heroes. The movie is cheesy and ridiculous at times, but the filmmakers commit to the material with sincerity, making it feel like a worthy modern successor to action films from the '80s and '90s. In fact, if it were produced in the '90s, Lockout would probably be considered a forgotten geek classic like Fortress or Soldier. For action fans seeking an undemanding fix, Lockout scratches that itch. However, you should look elsewhere if you desire something more intellectually stimulating.

6.8/10

I wasn't expecting much from this flick but since I have a weak spot for Guy Pearce, I thought I might as well give it a try. To be honest, it is only when the film started, during the credits, that I discovered that it was a Besson production. It wasn't exactly a positive sign. I mean, I do respect the fact that Luc Besson is probably the only one in France or even in Europe who is able to challenge the Americans on their own turf. Still, it doesn’t mean that the movies he writes and produces nowadays are actually really good and this flick was a fine example. Sure, I have a weak spot for SF features and the whole thing did look good. On top of that, Guy Pearce never disappoints and he had some decent one-liners throughout the whole thing. And yet, I really had a hard time to care about the damned thing. Indeed, the plot was just so generic, so pedestrian, I got bored pretty quickly. Furthermore, I thought that Maggie Grace, also to be seen in the 'Taken' trilogy from the Besson factory, was pretty weak. To conclude, I have seen worse but I still don't think it is really worth a look.

Even though this got pretty bad reviews, I still decided to check this movie out. This isn't as bad as some people would lead you to believe. It could have been a lot better but, whatever potential they had, they squandered it. This is prett much Escape From New York except, in space.

There's not much in terms of story but, it takes place in the future. There's a max security prison in space and the president's daughter goes to it to check things out. She interviews ones of the prisoners and he ends up breaking free(Whattt???!!!). Soon her and everyone one else is in danger when all the prisoner's get released and in order to save the president's daughter they decide to send a guy named Snow. He is about to get sent to the prison for 30 years but, if he rescues the president's daughter all of his charges will be dropped. Then after that, you can pretty much pinpoint what's going to happen in the movie.

The things that I liked and disliked are all over the place but, I guess I'll start with the visuals. The visuals are inconsistent. Some of it is really bad and some of it is really good and pretty. The scenes where Snow is trying to run away from the police on a bike is laughably bad. You can tell everything is fake and the filming was poorly done. It was a sloppy scene, with a ton of shakey cam. The outerspace images are pretty and they looked like the were done with care(?). At least this movie wasn't in 3-D.

The script is poor for the most part. There are some funny and clever one liners from Guy Pearce but, other than that, the script feels like it was written by a 12 year old. With the exception of Snow, the characters are pretty much cardboard cut outs. I didn't really care for any of the characters including Snow himself even though he's the most developed. I see what the screenwriters were trying to do with him but, he comes off as annoying and an asshole and didn't really come off as the hero type.

Whatever the case, Guy Pearce plays him well. He is probably one of the best things about the movie, such a shame that his talent is not being put to good use here. Maggie Grace on the other hand is so wooden that I almost mistook her from a wooden plank. Her and Pearce barely had any chemistry together. I didn't care if they ended up together or not.The scene with them at the end with these two involving parachutes is unintentionally funny. The rest of the cast was only okay.

Overall, Guy Pearce, the nice visuals, and the occasional funny one liners save the movie. The poor script, the cardboard cut-out characters, the sloppy execution, and Maggie Grace bring this film down. There was a lot of potential that was unfortunately, wasted. The anti-gravity scene would have been a lot cooler had we not seen the same thing almost shot-for-shot in Mission Impossible 4. Unless you're dying to see this movie, then by all means, watch it. Otherwise, this is only good to watch if you truly have nothing to do.

The French action film, far from co-productions like the Transporter series, is usually quite limited in terms of inventiveness. To try to renew the genre are already Americans. Specifically is perhaps Luc Besson (coincidentally also the architect of the aforementioned trilogy) the more committed European who move to a more suitable spot. Virtually any action film "made in Europe" seems to pass through his hands.
Replacing Jason Statham as a hero, may sound quite trite, Besson has chosen to take another Briton, Guy Pearce, rare tape of the genre, but has made his first steps. The actor does not develop bad at all (not that much is required) and hopefully you see the tables and try to build a rogue character, ironic, somewhat rebellious, but deep commitment to what he does.
His "pole" is always fragile opposite Maggie Grace (who'll be seen opposite Liam Neeson in Revenge 2: Connecting Istanbul). His role leaves no doubt that it is practically the hook of the film. A woman must become more human and, to achieve what they never even think could achieve. It's not much, but at least it's correct place.
MS1: Maximum security meets clichés, platitudes and little shocking scenes (also interesting) that could make it a curious production, at least interesting to watch. Assuming that your story would to tape something more elaborate, the film does not go away after a dizzying paths and presentation puts us in a position to minute.
Technically, we are not just at a prodigy in terms of special effects (very forgettable the motorcycle chase, closer to a video game to film), but the action scenes are well resolved and even some footage in space outside could also weigh some unknown American productions punteras.Los Mather and St. Leger, virtually debut in cinema with this pastiche of action where either lack the effort that it is not all in one simple hodgepodge of scenes of shootings, fights and others. At least can become a tape to see, hang out and forget about it. Nor is their intention to pass into history.

The plot revolves around a prison experimental MS1 located in the space and which are the most dangerous prisoner planet. To prevent possible riots are put in a state of "lethargy" that do not cause any problems. All goes well until there is the daughter of U.S. President to check the effects hibernation leave convicts. That's when there is a riot of such dimensions that need the help of "Snow" a convict accused of espionage (Guy Pearce), to save the President's daughter.

Regarding the cast, there is no doubt that the entire burden is on Guy Pearce ("Prometheus", 2012) who plays Marion Snow, a former government agent accused of a crime he did not commit. With a burly physique and great skill and intelligence to successfully achieve what is proposed, will have to save the President's daughter if you want your accusations are erased. Joseph Gilgun ("Misfits", 2009) brings to life a psychopath uncontrolled Hydell to abide by the orders of his brother Alex, the prisoner who lead the mutiny. Correct interpretation of achieving Gilgun characterize a heinous and barbaric character.

Remarkable is the opening sequence (which also appears in the trailer) that appears in the foreground Pearce that appear in the credits as will be beaten by swearing that come to mind. Also within and without you would be very strict, the few outer space sequences are viewed as assemblies or modules MS1 own view from outside, are very well done.

It's Die-Hard! in spaaaace! Just pretend we're back in the 90s, when this was easily blockbuster material. A job well done.

Futuristic, set some 60-plus years in the future, but a lot of things remain the same, "Lockout" is a movie about a troubled prison in space, whereby Guy Pearce as an ex-secret agent ends up in a situation where the only way out is to rescue the President Daughter from security facility in outer space taken may seem improbable, but nothing is out of the world on the screen.

Guess what Guy Pearce successfully managed to resuce the president daughter while all the other hostages and some 500 plus prisoners in charge got killed in the action and not to forget the space facility had to be comprmised as well. :)