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Dir. Robert Wyatt
Cert: 15
Year: 2008

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The ‘prison-escape’ film has not been well serviced of late. The triumphs of Darabont’s King adaptations, films that explored the nature of institutionalization via themes of hope and redemption seem to be a thing of the past with majority earnings from either juvenile comedies (ill advised The Longest Yard remake) or brain dead football ‘hard man’ films ala Green Street 2.

Rupert Wyatt’s debut then is one of those most wonderful of films, defiantly modern without shirking its genre’s classic roots. It tells the tale of Frank Perry, a man who’s come to terms with the fact he will not see release. We know not why he was imprisoned, only that he is quietly intelligent, and stays out of trouble. When he receives news of his estranged daughter’s near-fatal overdose it galvanizes him into forming an intricate escape plot. That Frank lead is played by supporting actor du jour Brian Cox is the films biggest boon. The man is one of England’s most valuable and overlooked talents and you’ll recognize his wizened face and empowering yet fragile demeanor from any number of blockbusters. Its wonderful to see him excel in a starring role written with him in mind.

As Frank plots and builds his team, facing obstacles of both the physical kind (“We need something that can cut steel!”) and the suspicions of not only the guards but the sadistic prison don Rizza, footage is inter cut with the escape itself. Of course such chronological tinkerings are nothing new and often part and parcel of some of the best feature debuts. Wyatt uses his contorted time line sensitively and effectively, such foreshadowing of the triumphs and pitfalls ahead laces the film with a quiet poignancy, enhanced by Cox’s emotional core: gripping with his mixture of steely determination and fatherly concern.

The supporting cast are also excellent with some nicely against-type casting in the form of Damian Lewis’ soft spoken murderous kingpin and Joseph Fiennes barely recognizable from his young Shakespeare gig as he sheds his pretty boy looks for a hard man boxer.

Cinematography is also impressively claustrophobic and the minimal dialogue leaves a space for a striking sound scape of clanging metal and disconcerting echoes. The films twist (and yes it has a twist) is the only point of consternation, some people will love it, others will feel shortchanged. On its own terms it makes narrative sense and is certainly pulled off admirably but it doesn’t pull the rug from under us the way the best can. Perhaps viewing with this in mind will be more satisfying. Also, some characterization is thin: the supporting cast not well serviced by a script that is happy to let them orbit Cox’s central gravitas. Even so Wyatt is a talent to watch. The film is efficient in its 90 minute run time and proves itself  a stylish and effective little Brit thriller.

4 stars (out of 5)