Shadows on the Wall | The Locksmith

The Locksmith

dir Nicolas Harvard
prd Roger Goff, Mark B David
scr John Glosser, Joseph Russo, Chris LaMont, Ben Kabialis
with Ryan Phillippe, Kate Bosworth, Ving Rhames, Jeffrey Nordling, Gabriela Quezada, Tom Wright, Charlie Weber, Kaylee Bryant, Noel G, Bourke Floyd, Madeleine Guilbot, Livia Trevino
release US 3.Feb.23
23/US 1h32

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While everything about this dramatic thriller feels familiar, it's made watchable by a strong cast and an earthy filmmaking approach that hints at emotional depth. Director Nicolas Harvard never tries to inject originality into the cliche-packed script, but he keeps things ticking along with an engaging pace and people who are sympathetic. And it's so formulaic that we're almost able to say the dialog along with the characters.

After 10 years in prison, Miller (Phillippe) wants to reconnect with his ex Beth (Bosworth), who's a detective, and their 12-year-old daughter (Guilbot). His old pal Frank (Rhames) takes him in and puts him back to work as a locksmith. Miller then runs into April (Quezada), the now-grown daughter of his late partner, who has a dodgy job for him. Miller is determined to stay legit, but feels he owes a debt to April. Meanwhile, dirty cop Zwick (Nordling) is violently menacing both Miller and Beth. And when April goes missing, Miller kicks into action.

It doesn't matter that the script reduces each character to the most obvious stereotype. With heavy foreshadowing, the film opens with a flashback as Miller is arrested by Zwick, who murders April's father in cold blood. Orphaned, April has fallen into prostitution and expertly works Miller's guilt to get him to help her. This and a couple of old movies on the TV attempt to add a whiff of noir twistiness, but that never has a chance in such a blunt-edged thriller. And we never worry who will be standing after the expected climactic showdown.

Phillippe channels his soulful persona into the good-at-heart Miller, so we never doubt his moral compass, even when he gets involved in something shady. He and Bosworth have a nice on-screen connection as caring parents who are more alike than their excon-and-cop identities would suggest. Rhames offers some welcome gravitas, but Nordling can only do so much with the reprehensible Zwick. And as April, Quezada has little to do but smoulder manipulatively.

Both brutal action and happy family scenes follow the usual patterns. Thankfully the actors deliver details and interaction to add vaguely realistic touches. This gives the movie a sheen of grittiness that's easy to watch, largely because there isn't a moment in this movie that we haven't seen before, and there isn't a question about who is good and who is evil personified. Although the movie's essential message is that everyone is nasty if they can get away with it.

themes, language, violence 1.Feb.23

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