We're given a glimpse into Ivan Locke's entire life from within the seat of his car, as his whole world falls apart through a series of distressing phone calls. I wasn't sure Tom Hardy could carry an entire film on his own, nevermind not having the luxury of changing backdrops, but he surprisingly pulls it off with intimate grace. Knight's camera work is lit by the stark street night lights and bypassing cars which paints a feeling of depression and despair onto the increasingly daunting atmosphere.
It's the type of film that's most effective in a solitary environment to make best of the film's lonely atmosphere and from there you'll find yourself wanting to scream as Locke does.
3 invisible fathers out of 5
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