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Review | “Locke & Key” ends with a season that is both stimulating and bittersweet



‘Locke & Key’ became one of Netflix’s big hits when it entered the streaming platform’s catalog in early 2020 – representing a great adaptation of the eponymous comic book by Joe Hill and Gabriel Rodriguez and winning over audiences and specialist critics. The story follows the Locke family, whose long history with a mansion located in the small town of Matheson makes them the target of dangerous and fearsome creatures who want to find magic keys to control the universe.

Now we’re heading into the show’s 3rd and final season – and the Lockes’ not-so-long journey ends somewhat satisfyingly, even if it leaves a bittersweet taste for the ending already premeditated from the first episodes. . The truth is that Carlton Cuse, Meredith Averill and Aron Eli Coleite, who adapted the comics for the small screen, did their best to complete, without leaving too many details, the stimulating narrative that was presented to us ago two years. However, the strong desire to provide a dignified ending has also been one of the main obstacles to iteration – reiterated by the uneven pacing that spreads through episodes and the hasty conclusion of some arcs, as seen from the beginning. Eventually, things rearrange in a cathartic finale — and in the end, that’s what viewers care about.

As we saw in the previous season, the threat from Dodge (Laysla de Oliveira/Griffin Gluck) seems to have dissipated and brought some peace to the Lockes – but not without ultimate consequences. As Bode (Jackson Robert Scott), Kinsey (Emilia Jones) and Nina (Darby Stanchfield) revel in magical memories involving the Keys and the events that nearly tore him apart, Tyler (Connor Jessup) is engulfed in a vortex of guilt. after his tragic passing of ex-girlfriend Jackie (Geneviève Kang). To cope with the grief of having lost her, he refuses to know the mystical history of the family and embarks on a journey of overcoming and healing that separates him from his brothers and his mother, turning him into a stranger.

While the family drama is one of the main storylines to explore, with greater solidity and impact in the final iteration, it wouldn’t stand on its own. In the case of a fantastic series, a supernatural and imminent threat must arise as the antagonist who will confront the good (represented by the Lockes): this is where Frederick Gideon (Kevin Durand) appears, echo of an impetuous and mercenary English. captain from the time of the American Revolution. In fact, Frederick is just the humanized personification of a mortal demon whose goals involve the destruction of the human world and the liberation of the entities that inhabit his dimension – something similar to what Dodge intended. So it’s no surprise that the first step is to get your hands on all the keys.

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It’s fair to say that the constant clash of who will get their hands on these important items has already become somewhat tiresome – which is ironic considering that’s the motto of the original comics. But, within the framework of the series, the first cycle works with a greater completeness, since it is necessary to introduce the characters and to give the kick-off which will guide them in this arc of maturation and of a certain deconstructed redemption. What seems different are the motives of Frederick, who doesn’t want the keys for his own benefit, but for something greater, which involves the fate and collision of two different cosmoses that will fight to see who emerges victorious. . As we realized from the first chapters, the power gathered by all the Keys manages to dilute the barrier between dimensions and create a rift that will serve as a passage for demonic entities to show what they are, in fact, capable of.

What strikes us most about the third season is the chemistry of the cast: from the start, the Locke dynamic was advocated with such passion by the main actors that it was hard to believe that they did not weren’t a real family. Jones demonstrated her performing versatility by participating in the highly acclaimed “Beat of the Heart,” which earned her a BAFTA nomination; Jessup embraces his character in the absolute ultimate way; and Stanchfield proves to be one of show business’s most underrated veterans by showing more candida Nina sides; but we focus on the performance of young Scott, who arguably had the most room for growth working with Bode – and who is doing a magnificent job in that closeout.

The big problem, as mentioned in the paragraphs above, is the pacing of the plot: there is a noticeable lag between the beginning and the end of the season which does not seem to give the ending that the protagonists and actors of deserve support. , dragging itself through forgettable scenes that only get back on track when it’s “too late,” so to speak. The final battle between Frederick and the Lockes (which brings Dodge back in a very welcome cameo) loses its density when, in the blink of an eye, things are settled in the blink of an eye. If the creators had taken a little more time to polish the excesses and slippages, the conclusion would have been as grand as expected.

“Locke & Key” is ending in leaps and bounds – but that doesn’t mean it’s a wasted cycle. Guided by acclaimed renditions and functioning as an homage to the source material, the final iteration has its issues, but that doesn’t mean it won’t be missed.

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