Dog Pound

Dog Pound is an excellent film. I'm not a huge "Drama" genre fan, but from the opening credits all the way to the end-credits, I was completely engaged. Acting, camera work, and production are superb. Not a lot of fluff, just raw, scene acting.

The biggest reason for writing this review is to say that I absolutely HATED the ending. Hated it. That should not dissuade anyone from watching, but yikes...what a terrible way to finish telling this story.

That is all.

This movie hit home for me because I was once locked up in a juvenile detention facility. The only thing I disagree with in this movie is the guards were not violent enough but the setting is the same if not worse on how you get treated by the people around you. For all the people who said this was a "Bad movie" "had no plot" you have never lived it so you would not have the first clue what this movie was attempting to convey with its ending and storyline. The psychology is nearly the same and it does not matter how you go in, your environment changes and with it you must change yourself. You may have heard the term "debt dog" but I doubt it. This movie hits as close as your going to probably get without someones story like mine.

Dog Pound is directed by Kim Chapiron who also co-writes the screenplay with Jeremie Delon. It stars Adam Butcher, Shane Kippel, Mateo Morales, Taylor Poulin, Dewshane Williams, Lawrence Bayne and Trent McMullen.

Young offenders Butch (Butcher), Angel (Morales) & Davis (Kippel) are sent to the Enola Vale correctional facility and find that bullying, drugs and abuse are the order of the day.

To clear things up, since there seems to be a lot of confusion on internet forums, Dog Pound is to all intents and purposes a remake of Alan Clarke's seminal British Borstal shocker, Scum (1977/79). It's the same plotting, much of the same characters are recycled and all of the big scenes from Scum are recreated as well. Only difference is is that Chapiron has shifted the story to North America, to a fictional correctional facility in Montana. It's basically done what the Farrelly Brothers did with Fever Pitch. What should be noted is that Chapiron hasn't hid from this fact, he didn't make the movie thinking nobody would notice, he actively acknowledged his worship of Clarke's film, making Dog Pound very much the ultimate American homage. Claims of it being a rip-off etc are way off the mark, it's a remake and nobody has denied this.

Much like the original British version, Dog Pound is brutal, upsetting and has a loud booming voice. The director follows Clarke's template by keeping it grimy and raw, and by shooting it in semi-documentary style and using rookie actors and real life ex-offenders in the cast, Chapiron has gone, and gotten, gritty realism. He's also added a couple of his own neat touches to the narrative. The pressure the guards are under is scrutinised, how it affects home life, and there's a deft line about AIDS in the story, how people react to sufferers of the disease. The recreation of a young offenders facility is well researched, with laid bare dormitories and depressing corridors, while the cast, particularly a terrific coiled spring Butcher, can't be faulted for excellent serving up of the material to hand.

Minor problems do exist, familiarity of genre is always an issue, and here for anyone who has seen either of the Scum movies, there is no surprise factor, it does feel a little old hat. This even though Chapiron appears to be making the comment that problems inside juvenile facilities haven't ceased since the 70s. The Angel character is badly under written in the context of him being one of the central characters, a big misstep since he forms a crucial plot development, whilst the use of music is also a very bad idea. These irritants stop the film from being up with the best of the genre, but it's still a potent firecracker of a picture. Very well made and still it has something to say, in that the cycle of violence continues inside, that juvenile institutions are still questionable tools for rehab, problems are there and Dog Pound ferociously makes its point. 7.5/10

Straight to the point: one of these movies where the plot is very basic, the characters easily identifiable; interestingly, two strong points; yet despite all the conventionality, this style of realistic movies never suffers from a lack of imagination. It is rather the crude, raw scenes that are sought out, actors with faces that tell a story, a fluid motion from scene to scene without all the pretentious cinematic effects (symbols, metaphors, angles, music etc...).

Like I said, straight to the point.

And where this movie might lack in depth, it solidifies the viewers' expectations all through the one channel of ADRENALINE. It's violent, raw, vivid...such a sober experience through the scope of tale-telling art.

Some flaws will appear clearly by the end of the movie. Perhaps a rushed scene or two - a little more footage or info in the end, that culminating to the point of the viewer looking back and asking himself how this movie stormed past his eyes so fast, in the method of a one-dimensional scene-after-scene procedure.

This film is genuinely "lived". The power-trip it represents and authenticity factors give this about a 7.

A mean prison thriller that goes for the jugular throughout, the Canadian film DOG POUND is in actual fact a remake of the British borstal classic SCUM from 1979. While it's not as powerful or harrowing as that film, nevertheless it packs a punch in its harsh depiction of bullying and brutality within prison confines.

The prison in this film is a juvenile one and the movie is populated by new and unfamiliar faces, but don't let that put you off, because DOG POUND turns out to be a highly effective movie in its own right. The acting is up and down and probably the weakest part of the production, but that matters not when the direction is strong and the writing compelling.

DOG POUND is a slow paced film for the most part and yet it's alive with simmering tension as character relationships develop and things move towards some scenes of violence which are devastating in their depiction. Some of the sub-plots are distinctly underwhelming (with the fate of one particular character not a patch on his counterpart in SCUM) but others hit home with precision force, making this a film I really got into.