Here’s a simple premise for a film that should be able to be shot on a budget with the exception of salaries for the two main stars. We have been on a bit of a Bill Skarsgård kick for the last year or so, and this film features him in every scene, and he doesn’t have to share the screen with anybody for any 80% of the movie. He does have a co-star, Sir Anthony Hopkins, who only appears by voice for the first two acts of the film, and shows up in the last third for an extended sequence with a more direct confrontation between antagonists.

Skarsgård’s character plays a petty Thief, who’s trying to get enough money together to pay for repairs to his van. He professes a desire to stick to the straight and narrow, in a job is a delivery driver. It is clear however from the cold shoulder he gets from former acquaintances, that he is used up any Goodwill and Trust he might have had, as they all refuse to assist him. He attempts a few minor crimes before encountering I’m unlocked luxury SUV. Thinking he’s hit the jackpot he jumps in and discovers that it is an elaborate trap by frequently vandalized and victimized wealthy doctor, who is decided to take some justice individuality form by imprisoning any car thief who deems to try and Rob him again.

We have to suspend our disbelief a little bit, because the technology involved here, well it is all possible, seems very complicated to utilize intervene plot like this. We do however discover that the doctor is motivated by Deep resentment against criminals who have taken the life of his daughter, a promising college student. Scarsgard finds himself locked in the car unable to escape and subject to tortures imposed by his invisible Captor. The actor manages to convey appropriate degrees of panic, resentment, and remorse. They’re also frequent outbursts of anger that give an actor the opportunity to stretch those skills that are so often prized by directors. Although at some point we are supposed to pity the thief, there is plenty such to suggest that what he’s getting up to a certain point is not undeserved.

The high point of the film occurs when Hopkins takes remote control of the vehicle and drives it to a location that he is found. He gets in and takes physical control not just virtual control of the situation. The film does suggest some political themes, most of which have been around for at least 50 years. Echoing the problems confronted by Dirty Harry or by Paul Kersey in the death wish films, Hopkins is enraged by a system that seems to tolerate criminal Behavior, and value the rights of repeat offenders over the need for justice for victims. Up to the point where he makes clear that he’s going to take skarsgard’s life, he has a very rational philosophy. When however he oversteps his bounds, Hopkins himself becomes a similar kind of monster, and we are left with rooting for one monster or the other. Because Skarsgård’s characters daughter is still alive, it becomes apparent that that is where our sympathy is supposed to lie.

The petty tortures and monologuing provided by Hopkins are the primary reasons that this film is interesting. Most of us would try to identify with the captured Thief and figure out how to survive for the circumstances we find ourselves in. The sense of powerlessness is overwhelming at times, especially when Skarsgård is tortured by lack of water or food. But of course that powerlessness is exactly what Hopkins character felt when nothing was done in regard to the murder of his daughter, or the multiple robberies of his vehicles.

So it is a one-man show for the most part, but when Hopkins shows up in person, it is clear he is having way too much fun playing another villain and savoring the chaos he’s imposing on his victim. The climax of the film does involve a lot more action than we’ve gotten in the previous 80 minutes, so the film is a Slow Burn but with a fairly satisfying conclusion. I can recommend it as an actor’s piece, and as a mediation on the injustice of our own justice system.