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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
