Skarsgard, Bill (1990- )

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    ‘Locked’ Review: Cramped Quarters

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    This gimmicky thriller starring Bill Skarsgard and Anthony Hopkins sees a petty criminal fall victim to a vigilante’s trap.When we first meet Eddie (Bill Skarsgard), a recently divorced father, he’s begging a mechanic to give him a few more days to pay the bill. No catch. And no car. Desperate, Eddie, breaks into a snazzy sport utility vehicle hoping to pawn whatever valuables he finds.It’s here, inside the vehicle, that most of “Locked” takes place.Directed by David Yarovesky, this gimmicky thriller is an adaptation of the Argentine film “4×4,” set in a big American city where the class divide is stark and petty crimes are aplenty.The S.U.V. is quickly revealed as a trap staged by William (Anthony Hopkins), a deranged vigilante in the vein of the “Saw” franchise’s Jigsaw, who lashes out against those who he thinks have broken the social contract.Hopkins’s Hannibal Lecter credentials — and William’s penchant for classical music — also give him a menacingly refined air that plays off Eddie’s rough exterior, underscoring the film’s clunky rich versus poor through-line.Hopkins spends most of the movie offscreen, speaking to his victim through the car’s speakers and zapping him remotely through devices in the seats. Struggling to find a way out, Eddie at one point shoots a gun at the bulletproof windows, causing a bullet to strike him in the leg. William gleefully observes the younger man deteriorate from the point of view of a surveillance camera, progressively ramping up the sadism.Still, the violent fun and games aren’t quite inventive enough to get past the single setting and its cramped leather seats. The performers hold their ground even if the script simply goes through the motions — the car-as-prison may at first come off like a new jam, and yet you’ve definitely seen it all before.LockedRated R. Running time: 1 hour 35 minutes. In theaters. More

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      ‘The Crow’ Review: Resurrected and It Feels So Bad

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      Hoping to skate by off moody vibes, this revamp of “The Crow” comic book series seems derived from a flattened, Hot Topic image of the hero.In the long and winding road it took to finally get to “The Crow” — with some 15 years of recasts, rewrites, and director switches — the one constant that has remained is that this version would not be a remake of the 1994 film of the same name. It would, the mantra went, instead be a reimagining of the original comic book series by James O’Barr about a man, resurrected from the dead, enacting vengeance on the small-time gangsters who killed him and his fiancée.It’s a sensible distinction to make for any movie revamp, but here is a particularly important and likely futile disclaimer to evade existing in the shadow not only of a cult classic, but also of a tragic and storied legacy — the accidental on-set death of its star, Brandon Lee — that shrouded and ultimately fueled the original film’s beloved status. “The Crow” of 2024 was never meant to be, couldn’t ever be, a version of that movie, a grittily stylized, rough-edged gothic melodrama whose pain and grief was so deeply absorbed by fans because those very things bled beyond the frame.That, of course, is fine and all. But ultimately what this version, directed by Rupert Sanders, is spiritually derived from is neither the film nor the comic, but rather the flattened popular image that the film produced — a Hot Topic-style version of alternative consciousness.“Do you think angsty teens would build shrines to us?” Shelly (FKA twigs) asks Eric (Bill Skarsgard) about their love story, the film’s central romance, whose edgy sensitivity is packaged with as much real feeling as a perfume ad starring Machine Gun Kelly and Megan Fox. You might think of Shelly’s line as a kind of wink at how Lee’s image became a beacon for brooding cynicism for an entire generation.But the real punchline is that the film itself is the embodiment of that kind of hollow emo teen worship, throwing vague echoes of “Joker,” “John Wick” and “Constantine” into a laundry machine and hoping faded shades of black eyeliner remain.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Boy Kills World’ Review: A Wide-Eyed Assassin

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      Beefed up and bloodied, Bill Skarsgard goes mano a mano against disposable hordes in this dystopian action flick.At least give it up for the stunt crew on “Boy Kills World,” a boneheaded action movie that gives some exceedingly fit performers — its hard-body star Bill Skarsgard very much included — a chance to flaunt their physical skills. To judge from all the grunting, the straining muscles and cascading sweat, Skarsgard, along with a few of his nimble co-stars and an army of stunt performers, puts in serious work to try to make the relentless bashing and smashing, flailing and dying look good. Too bad the filmmakers were incapable of doing the same.Set in a discount dystopian hellscape, the story centers on, ta-da, Boy (Skarsgard), a saucer-eyed dynamo with an uninteresting back story who can neither hear nor talk. Once upon a time, for reasons that are laboriously teased out, he landed in the jungle, where he was taken under wing by a punishing caretaker, the Shaman. This cat is played with a lot of grimacing by the Indonesian martial-arts phenom Yayan Ruhian, of the “Raid” movies. Ruhian also shows up in “John Wick: Chapter 3 — Parabellum,” which isn’t good, yet is still better than “Boy Kills World” because it was made by people who know how to showcase stunt fighting.“Boy Kills World,” by contrast, consistently undermines its stunts with frustratingly clumsy filmmaking. Again and again, the frantic camera goes overly close when it should go wide — turning bodies into a chaotic jumble of parts — and the choppy over-editing makes matters worse. I’m not sure what the director Moritz Mohr thought he was doing here. (Sam Raimi is one of the producers.) It’s also unclear why anyone even bothered to concoct a story for Boy, because the only point of this ridiculousness is to watch Skarsgard flex his sculpted arms and take a great deal of brutal punishment so that he can dole out more. Rinse, repeat.The story involves, yup, a revenge mission that the filmmakers fuss with by toggling between the past and present but that mostly finds Boy hunting a cartoon despot (Famke Janssen) and her minions (Jessica Rothe, Michelle Dockery, Brett Gelman). Andrew Koji also shows up as a sidekick for Boy, whom Skarsgard plays as a guileless killing machine. As he did in “It,” the actor makes shrewd use of the whites of his eyes, turning them into attention-grabbing beacons. That’s understandable given that another actor (H. Jon Benjamin, of “Bob’s Burgers”) provides Boy’s internal voice using a putatively humorous tough-guy drone. This gimmick gets old fast, as does the movie, even as its hero and ideas remain underbaked.Boy Kills WorldRated R for action movie fighting and killing. Running time: 1 hour 55 minutes. In theaters. More