As 2014 wraps up, we decided to include in the twelfth and final issue — released on a day set aside in memory of the principles of Guy Fawkes and the Fifth of November — of the first volume of our magazine a discussion of the films of the year. Aside from pure entertainment, the other main criteria for our examination is that these films must include a characters that , like the Fawkesian V in V For Vendetta, pursue some form of justice. Osvaldo will make the case in favour of Edge of Tomorrow as The Kallipolitan Magazine’s film of the year. I will present in favour of Locke as The Kallipolitan’s film of the year.
Hardy captures the Birmingham dialect, easily one of the most difficult accents in the English language, seemingly effortlessly. His performance is Academy worthy and one for the ages. The film is essentially shot in one take, in one night, and on a hair-thin budget. The soundtrack emanates this sense of foreboding with the imperceptibly ominous music. The lighting and cinematography perfectly convey to the audience the sense of driving along the motorway or highway at night. This film is so thick of tension I dare not breath when the character Locke is speaking.
From this film I took the most Fawkesian principle of all, that it is never too late to do right. The power of forgiveness is tangibly missing in the film, yet amazingly the hope of redemption is so pure that it emancipates the film from the confines of the medium. Then the film is free to roam unbridled through our collective imagination. This film haunts you for days, weeks, and months afterwards; it haunts you with a stern sense of hope.