When I saw Mariano Cohn’s 4x4 in Austin at Fantastic Fest in 2019, remake potential never crossed my mind. Sure, Americanizations of international horror films have been the rage (especially since the 2000s), but 4x4—a vehicular lockbox thriller—seemed too niche. But, as I should have guessed, any foreign horror-thriller is prime for the remaking, and you know what? David Yarovesky’s Locked is a stellar representation of Cohn’s ambitious single-location potboiler that customizes enough to give it a new car smell.
Bill Skarsgård stars as criminal protagonist Eddie Barrish, a deadbeat dad who picks the wrong luxury Dolus SUV to carjack. Anthony Hopkins plays wealthy English doctor William, the Dolus’ owner who traps Eddie in his fortified four-wheeler. Eddie pries at consoles with crowbars and tries to break bulletproof glass, but it’s no use. William confirms via phone that Eddie’s escape attempts are futile and that he’s sealed inside a tinted-out metal box. Eddie’s imprisoned and at William’s mercy—maybe if he behaves, he’ll survive.
Writer Michael Arlen Ross adapts Cohn and Gastón Duprat’s screenplay seamlessly, translating Argentinian anti-government themes to American classism and police ignorance. William’s motivated by seeking justice against lowlives who prey on the rich, while Eddie fights for the underprivileged, left scavenging for scraps in a system that favors the one percent. It’s a timely story for 2025, where Trump’s oligarchy is attempting to widen classism gaps while toying with the lives of impoverished citizens. There’s enough socio-political commentary as William and Eddie bicker about their predicaments, yet William is in control because he’s got the fatter wallet.
The plot mechanisms inside William’s jet-black Dolus work like a charm. Steep plates bolster the interior paneling, the windows are midnight black—Eddie pleads for help from a woman applying lipstick in her reflection—and security features like tasers that zap through the seats keep tension steady. It’s a bit preposterous, the way William heals Eddie’s wounds while unconscious or the remote-controlled joy ride that William takes Eddie on, but in the context of Locked, the scenario succeeds. William has enough control of features like ice-cold air conditioning or the yodeling song he plays on repeat like psychological torture, making his threats real. Eddie’s a hostage; this isn’t Uber Comfort.
Locked is a two-hander that’s expertly cast. Yarovesky generates sympathy for Skarsgård’s flippant crook, whether that’s his adorable daughter or his pit stop to help a thirsty doggy. Eddie is a criminal, but Skarsgård plays him with a big-city bravado that’s more for show. The Eddie who William draws out, the cowering Eddie who William chastises for his criminal record, is someone we want to survive. Hopkins’ regality makes him a worthy villain playing both sides of the coin, the vengeful widower who wants to punish those who’ve evaded police prosecution, but he’s also hilarious. William’s playing mind games with Eddie and Hopkins’ stammery wit is the perfect delivery, whether he’s scolding Eddie for cursing or howling about bringing anarchy to the streets.
The thing about Locked versus 4x4 is that Locked favors entertainment over functionality. It is, indeed, an American production. Yarovesky uses the Dolus more like a Hot Wheels car, calling upon Christine visuals. As William terrorizes alleyways and parking garages while Eddie grips leather upholstery for dear life, Yarovesky focuses on adrenaline. Where 4x4 utilizes a police standoff and martyrdom, Locked is a rivalry between two men on a collision course with finality. Ross’ screenplay is simpler and less original, staying standard to cat-and-mouse chillers where an unseen baddie ruins someone’s life (for a period). There’s a bit of taught storytelling lost during the film’s ultimately bonkers third act when William gets more brazen, but it’s still a roller coaster that’ll keep audiences engaged.
Truthfully, Locked is better than expected based on typical American remake results. Yarovesky breaks out the jumper cables and jolts his automotive nightmare to life. Skarsgård and Hopkins are a fantastic one-two performance punch, playing off each other’s rage and apprehension with aplomb. It’s a speedy, high-impact, pedal-to-the-floor experience that never lets the tank run dry, continuing a stellar year for genre films with another unexpected banger.
Movie Score: 3.5/5
Matt Donato is a Los Angeles-based film critic currently published on SlashFilm, Fangoria, Bloody Disgusting, and anywhere else he’s allowed to spread the gospel of Demon Wind. He is also a member of the Critics Choice Association. Definitely don’t feed him after midnight.
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