Because Luc Besson is a classic French film maker, Lockout begins with a slow and meandering exploration of the physicality of his characters. He builds tension through silence, through the empty spaces of landscape and nature, intersplicing the peaceful ennui with flashes of wild metaphor: a wounded fox drinking from a waterfall, an old woman crying.

No, no, wait, he starts Lockout with Guy Pearce killing and running his way through an army of pursuers, flashbacking to running combat while being steadily beaten in the present for snarky responses to an interrogator.

See, he doesn’t offer you his multipass because he’s already blown up the entire spaceport on his way to morning coffee.

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Steven Lloyd Wilson is the sci-fi and history editor. You can email him here or follow him on Twitter.

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