Die Hard in space, as sci-fi thriller Lockout could be accurately dubbed, may be the silliest (and stupidest) Die Hard rip-off yet.
Guy Pearce stars as devil-may-care secret agent Snow, who is forced to infiltrate a high security prison to rescue the President’s daughter Emilie (Maggie Grace) after the prisoners rebel and take over. The catch? The prison, MS One, is in fact a maximum security space station orbiting Earth.
Pearce is easily the best part of Lockout, playing Snow as a Han Solo clone, complete with gruff charisma and roguish wit. Luckily for the film and audience, he pulls it off. Trading either barbs or blows with every character he comes across, Pearce effectively establishes himself as a more-than-capable leading man. It’s just a shame he’s given so little to work with.
Lockout‘s plot is as described above, and that’s pretty much it. There are no layers to the concept of MS One, though the writers throw some inadequate tidbits to the audience that make the film’s ultimate simplicity all the more frustrating. The fact that Emilie is on board to investigate rumors of prisoner abuse is one of the film’s only thoughtful ideas, but it’s immediately drowned out by explosions and gunfire and never goes anywhere. An undercooked side plot with Pearce’s character being framed for murder back on Earth is so meager and poorly executed that it’s not worth trying to piece together.
There are a lot of missed opportunities in Lockout, which decides to poorly copy better movies instead of introducing its own ideas. John Carpenter’s Escape from New York is the movie most plagiarized, from the concept to the characters, but almost every idea in Lockout originated in a different, better movie.
Lockout is about evenly split between effective action sequences and ones that look shockingly crappy. The film’s jumpy, amateurish direction does nothing to alleviate sensory headaches caused by the worst of those scenes. Honestly, at times, the level of thought that went into Lockout makes it appear as if it were made by middle school students taking an Introduction to Filmmaking course, albeit ones with deep pockets.
Atrocious direction aside, Lockout not only asks viewers to suspend their disbelief, but to throw basic laws of physics out the window. Pearce tries his damnedest, but it feels like he’s fighting alone. Lockout‘s directors, producers, and writers (including super-producer Luc Besson) are all perfectly content to let the film float around aimlessly like so much space debris. The supporting cast is no help, with Grace floundering in a thankless role and Peter Stormare mangling already cheesy dialogue as a dull government supervisor.
Lockout wants to be seen as a legitimate action thriller, but it can’t even be truly enjoyed as a parody of the same. With mind-numbingly bad special effects and even worse plot points, Pearce’s fine performance doesn’t even come close to saving Lockout from collapsing under the weight of its own idiocy. Lock this one up and throw away the key. C-
Photo Courtery: EuroCorp.