The setting is tight inside the passenger compartment of a large black SUV, the premise rhymes with a large -grain bottom moral. What happens if one day a furfantello is targeted by someone who has a lot of money, very cynicism and a distorted sense of justice? This handful of elements “locked – in trap”, directed by David Yarovesky and remake of the 4×4 Argentine of the duo of Mariano Cohn and GastorN Duprat, in turn similar in the starting point for Pieter Liapis’ 1998 film, released on home video.

We are from the parts of the cage for mice à la Saw, where a tormentor chooses a victim and submits it to a whole series of harassment to try a point. Definitely less blood, but no less badness and diabolical devices. To produce the film, in the cinema from 20 August with Eagle Pictures, there is also Sam Raimi, who Sgella a psychological thriller with always a gimmick in his pocket.

Do not open that door

Among the packets of desperate on the streets of a dirty, impoverished and intoxicated city, Eddie also drags himself. He wears his clothes, he immediately centering the character Bill Skarsgård, who moves with a mischievous step of the criminal ready to screw yourself. He smokes the vapus, burets before throwing his foil in an alley already Lercio and throws crooked and winning cunning. If Locked – In trap, something is on the trap, it is the focus on a protagonist who floats between the loser and the opportunism, with which the empathy to which he will soon call is not immediate or due thing.

In short, the screenplay by Michael Arlen Ross triangola is easy but effective the edges of a father too young and with a small daughter with whom the appointment is always missing. And the speech of this characterization is crucial because for two thirds of the film, the voltage and empathic proximity is to him alone. In front of yet another temptation, Eddie does not resist: in an empty parking, he sees a luxury SUV parked, finds the door open and enters to see if there is something to be able to put himself in his pocket.

This, however, is not an SUV like everyone else. The doors close and Eddie remains blocked. Someone wants to play a game with him. An unmistakable voice (Anthony Hopkins) calls him on the phone, who reveals to call himself William and be the owner of the hell of the car. He is a doctor, a wealthy, he has undergone several theft attempts and has now decided to make up for the interests on the unfortunate, closed in this modified car to make it tool for torture.

DIY justice

The SUV at the Center of Locked – In trap is then the narrative and geographical border of the film, but it is also a sort of moral machinery. William is a super rich and Eddie is a super poor. The first wants to dispense a consciousness to the second, building it through a surveillance regime with cameras that Spiano Eddie, trace what he does and allow his jailer to understand how better repress him. Electric shock or sleep deprivation? In short, evident, that the moral machinery in the hands of the rich is nothing more than an instrument “made up by the system” and folded to a judgment that acts according to false parameters, where compensation and social leveling are the adaptation and the outburst.

Beyond the conceptual impaling, after the self -explosive accounts, Yarovesky’s film boasts a decent extermination on situations and solutions. Take advantage of every centimeter of the car to make a hatched puzzle a drawer and a compartment at a time, with a sadism that works on the hips and gets anguish from the protagonist. At the static nature of the initial setting there is an expiry limit, so at a certain point the rules of the game change, the car perhaps comes to life and perhaps gives Eddie an unpleasant travel companion.

If Locked – In trap it works for most of its duration (starting towards the resolution, it loses something in the range in the throat), however, in having a hook like Skarsgård in a hook. Which not only boasts a face already in itself magnetic, but above all a talent of great versatility and range of mood: from the slap to despair, from arrogance to impetus. The doubling with Hopkins – we will also see it – is a feast of charisma that holds everything, capable of guaranteeing solidity even when the film goes to a little less bright discursive territories. To take a ride.

VOTE: 6

https://www.youtube.com/watch?v=rrojhvpfracundefined