The Locksmith

Writers: John Glosser, Ben Kabialis and Blair Kroeber

Director: Nicolas Harvard

As films about ex-cons trying to keep out of trouble go, The Locksmith isn’t a bad one. The story, set in a small town in New Mexico, is a little far-fetched but there is enough intrigue and excitement to keep viewers watching. It also features a stellar performance from Kate Bosworth who almost acts everyone else off the screen.

Miller has been released early from prison for good behaviour. His old friend Frank meets him at the prison gates. He gives Miller a job and somewhere to stay. Miller promises Frank that he’ll stay straight. But within days the corrupt police lieutenant and his two cronies hatch up a plan to push Miller back into prison. And then April, the sister of his dead friend, announces that she wants cash, and she wants it now.

Very quickly, Miller agrees to carry out one final job that would give April enough money to escape a ring of forced prostitution. However, the robbery doesn’t go to plan and Miller finds himself even more embroiled in the dodgy dealings with the dirty vice squad who are determined to take the money he’s stolen.

Ryan Phillippe plays Miller as a dim kind of criminal. He’s a passive pawn in the action that surrounds him rather than an agent directing events. Supposedly, he’s got a heart of gold and this is what first attracted Kate Bosworth’s Beth to him. Before he went to prison Miller and Beth were an item; they have a 12-year-old daughter although Miller hasn’t seen Lindsay in the 10 years he’s been in jail. When he sees Lindsay now, he teaches her to pick locks, like any responsible father.

Bosworth initially gives Beth a bitter cruel streak, berating Miller for his fierce loyalty to his friends and family. But her coolness comes in very handy in her job as, seemingly, the only honest cop in the local police force. Beth may warm up to Miller too quickly, but Bosworth certainly lights up every scene she’s in whether she’s swigging whiskey with the enemy or skulking in the shadows with a gun in her hand.

The same can’t be said for veteran actor Ving Rhames who gives a very lifeless performance as Frank, Miller’s mentor. Jeffrey Nordling has more fun as Lieutenant Zwick, just about ensuring that his character doesn’t come across as a pantomime villain. And even if the acting is a bit large at times, the script contains a few good twists that keep the audience guessing.

The Locksmith won’t win any awards, but director Nicolas Harvard’s economical vision makes for a lean 90 minutes with very few unnecessary scenes. However, we could do without the old film noir segments blasting out on people’s TVs. The Locksmith, despite its noirish qualities, isn’t quite in the same league.

Signature Entertainment presentsThe Locksmithon Digital Platforms 24th April