O Escapista

not a bad film: good atmosphere, cast, acting & OST c/o Leonard Cohen.

it bares a resemblance, and even a few lines, to Shawshank Redemption. but then a lot of prison films do now.

however, the UK prison depiction was wholly inaccurate. British prisons have had in-cell lighting, kettles & tvs for over a decade. cons have never 'run' a whole prison, ever, anywhere. and the whole hazing/raping aspect - is a purely American phenomenon. and still you call us Brits fags!! also, there aren't any library cards as such, the common currency inside is drugs, tobacco & foodstuffs.

also, kat is an African herb, with amphetamine like qualities - as opposed to something you could knock together in an ad-hoc laboratory with oranges & fruit cake.

While The Escapist may not have an all-star A-list cast, it has a pretty recognizable international one. When I saw the names attached to this thing, I couldn't believe that it had trouble finding distribution. Luckily IFC Films stepped up to the plate and will add it to their VOD schedule to get some exposure for its DVD release. Much like Unknown from a few years back, Rupert Wyatt's film is a hidden gem of intrigue and suspense. A disjointed narrative tells the story of a ragtag bunch of criminals looking to escape from a maximum security prison so that the orchestrator, Brian Cox's Frank Perry, can see his daughter before she dies from drug abuse complications on the outside. Each member of the team has a specialty necessary for the escape to work and/or finds his way on the team through trade, whether consciously or not. You do begin to wonder way Rupert has decided to show it all inter-spliced with flashbacks on how they got together, and when the conclusion is reached you will understand in a surprisingly satisfactory turn of events.

Now these names may mean absolutely nothing to you, but on paper they are quite the collaborative team. Cox leads the way in recognition and stature, followed by a favorite of mine Damian Lewis, (in a smaller role than I had anticipated), and Joseph Fiennes. Add in the familiar faces of Steven Mackintosh, Liam Cunningham, Dominic Cooper, and singer Seu Jorge and you've really got something for a film that will probably not be seen by very many people. And that is the real shame here because The Escapist has a lot going for it. With a good marketing push and word of mouth, this had the potential of being a sleeper hit—an indie done well. Hopefully IFC viewers will start spreading excitement and help it to achieve cult status of some sort. It may not be as mainstream as "Prison Break", but utilizing the same core idea, Wyatt culls together a unique tale that takes more from a film like Jacob's Ladder than pop culture television.

It all begins with Cox's Perry, tired and scared, finding Lewis sitting on a cell bed. The next thing we know, Cox joins up with the team as they have just smashed their way into the laundry room, only now he has a bloodied shirt and what can be assumed as a nasty gash to his stomach. We have been dropped right into the escape and now the group is together, putting their plan in motion. But wait, all of sudden we are back in time watching Cox do laundry duty, Cunningham's Brodie putting on an ant race, and Mackintosh's Tony berating newcomer Cooper as he arrives at the prison. The discovery that we are about to go on a journey with the escapees, juxtaposed with how they all came together to plan the event, becomes clear. With sharp cuts, yet coherent story continuity, it all makes sense as both halves reach their crescendos at the end. The plot line of the past thread reaches the point at which the film started and that progression leads to the end of the escape simultaneously. Both meld together as one, revealing what has indeed been going on the entire time, possibly not even parallel timeframes after all.

Complete with some very nice camera-work, Wyatt shows some skill as a director. Scenes like that of Mackintosh and Cooper in the showers, fog shrouding their advance into the water, shielding us from what we know is about to happen, really stick out. Even the trip to that end, with Cooper's Lacey being "helped" by guards and inmates, opening doors for him to "hide" in, plays nicely into the artistry and aesthetic being put on display. The prison is dark and dingy, yet a paradise in comparison with the large expanses of sewers they soon find themselves traveling through. It is a muted palette throughout, making the light at the end of the tunnel (both figuratively and literally) that much brighter in notion and reality. And the way in which we see things happen is with suspense and intrigue. Watching the inmates plan their escape with dominoes as we are shown the real life places they mimic along with extended sequences of rapid process cuts—whether they be making drugs, creating a steel cutter, or even a jailhouse brawl—many instances beg to be appreciated visually as well as for how well they advance the story.

It all ends up being an actors' movie, though, as the performances shine above all else. Fiennes was almost unrecognizable to me at the start. I thought that was him, but something was off. Only after about thirty minutes did I finally realize it, Fiennes performing as a madman "utility" guy, nothing like the Shakespearean heroes he is most known for. Lewis is great as the menacing prison czar, always with a smile yet demanding the respect of every inmate with his own brand of punishment the guards look the other way on. And I really liked Seu Jorge's role as Viv Bastista. He is a wild card to the film—librarian/drug cook/witness for Lewis' Rizza. What really makes them all so elusive and mysterious, however, even as we learn who they are as men, is the fact that we don't know what has landed any of them in jail. Are they killers? Thieves? Rapists? It doesn't matter. These men all come together for a common cause and work as a team to achieve it. They sacrifice themselves for the others, just as Cox realizes that freedom doesn't have to be of the body, but can also be of the mind.

It was only yesterday that I had the chance to watch a film that is little known, yet somehow managed to make it to my nearest Vue cinema in-between some of the current, perhaps contrived blockbusters that are on our screens currently. So it was only with great surprise that this film, which I had heard great things about after it debuted earlier this year at Sundance had a screening, after some persuasive actions on a friend, I was able to settle down for what I hoped would turn out to be a memorable prison film. At a first glance The Escapist would appear to be your usual affair of a prison drama, however Rupert Wyatt has done far more than that in this wonderful existential, puzzle box of a film, it drives on with true mystique and leaves you as the viewer questioning the true structure of the narrative as it thrives you along to the thrilling, lynchian climax.

The opening of the film begins the puzzle with what appears at first to be a strange narrative choice, you join a number of inmates that are seemingly in the midst of a prison break. The thumping electronic score sets your heart racing with a mixture of confusion and interest. Just as you think your in the middle of the escape, the director makes what seems to be a very questionable editing choice. He appearingly jump cuts back in time, before the escape. The film itself constantly jumps between the escape and the lead up to the escape. Throughout the first half of the film I must admit I found this seemed to hurt the pace of the film, but that's only if you take this as a conventional Prison-Escape film. This isn't Escape From Alcatraz. And this narrative style that is explored through the film becomes clear more and really begins to pick up the pace in the second half, and the climax of the film really does show this choice of structure really did compliment the story. You genuinely are knocked out by the films climax, it's on the same level as Memento, and you feel equally fulfilled by the end of The Escapist.

The cast is really five star, lead by the wonderfully diverse Brian Cox as the haunted, subdued life sentence serving inmate Frank Perry. Arguably his career defining performance. He brings multiple layers to the character impressively without much dialogue, it's a powerful, albeit silent performance for the most part, but you genuinely feel for his character, and without giving anything away you will understand why when you do see the film, as the main story point is what leads to the engineering of the escape. Cox is joined by a fantastic supporting cast of some of the finest English actors around today. For the most part there appearances are often short, but there screen time does more than enough to create the tense, look behind your back atmosphere you would expect in any prison film. Steven Mackintosh gives a chilling performance as the stereotypical inmate that is always the prisons big bad. He takes a distinct liking towards Perrys new cellie, with some unnerving results. His fictional older brother in the film, the "leader" of the cell block is played by the wonderful Damian Lewis who I became a big fan of after Band Of Brothers. He has considerably less screen time here but for me, his chilling stares, and few words were some of the most memorable for me after the credits rolled.

The cinematography of the film is quite simply incredible. With a bleak grey tone to the film that keeps the existential atmosphere brooding in the background. Much of the film takes place in vast maze's of underground tunnel works. The filmmakers managed to captured a claustrophobic feel towards the ongoing story. Full of black shadows and long, seemingly endless age old tunnels that are barely lit by the flickering orange flame from their cell-made torch's. The cinematography really helps compliment the enclosure of the prison, both inside it, as well as the escape. Their really isn't anywhere to go, its dark, brooding, and downright terrifying. As you would expect a prison to be! The Escapist really is a revelation in regards of modern cinema. It just reels you into the story from the get go and takes you on a bleak ride through the dark underbelly of the prison, metaphorical in its tone, Rupert Wyatt really has crafted something wonderful here. The film defiantly leaves you with that deep satisfaction that Britain has been getting some blisteringly good films as of late, alongside films like Dead Man Shoes, it gives you the sense that there is still a lot of great to come.

Truly superb film. I was impressed by the choice of actors, some of whom played characters that one wouldn't expect them to do so well in - Damian Lewis, in particular, really impressed with his performance as 'the bad guy', while Steven Mackintosh also does an impressive job of scaring the living daylights out of you in this film.

The sound design and parts of the music really help the film along, building the pace at the right moments, creating suspense and capturing the raw, gritty feeling of prison life perfectly. It was a delight getting so involved in the subtleties of a film's soundtrack - something that is lacking in modern day feature films.

This film should stand out far more than other films of this genre, it is award-winning material.

No pun intended - prison break movies are quite the thing. And you either like them or not. What makes this different is how it is edited. The timeline and the surprises/twists that wait for you around the corner ... any corner that is. Maybe even inside a cell ... or down the stairs ... ah more puns, I love it.

That all being said, the movie is really well made and especially acted. The amount of talent in front of the camera is quite astonishing ... well casted to say the least. And all men are needed - yes this is a mens movie. I mean it is a prison for men, so it makes sense. One noteable exception ... though one that is the motor for the story too. You understand the sentiment of Brian Cox ... and why he does what he does ... but also why he doesn't do what ... well you'll understand once you watch. Just do not read too much before watching it ... it will elevate the viewing pleasure.