Tom Hardy drives a BMW X5 from Birmingham to London in order to be present during the birth of his illegitimate child, making 36 phone calls to his wife, son, mistress, boss and colleague along the way trying to deal with his increasingly more troublesome private and professional situations. This is the seemingly undynamic premise of Locke, a film with exactly one location (the inside of the car) and one actor onscreen for its entire running time. That's why Hardy's and writer/director Steven Knight's (Eastern Promises) feat of making this into a vibrant, powerful and soul-searching film is so remarkable. The format, which could have pulled the film down, on the contrary elevates the drama and makes you experience instead of watch the Hardy character's distress and dilemmas in an unprecedented way. And Hardy himself got and made the most of the chance to show his depth and versatility with a unique performance.