The Escapist

For Parisian-born writer-director Rupert Wyatt, 'The Escapist' is clearly a labour of love. Shot on a small budget, with little to no margin for error during filming, the fact that it has clinched a mainstream release is something in itself. Key to this achievement was Wyatt securing Brian Cox in the lead role, giving the film a recognisable face and an established actor to boot - Cox was reportedly offered only a supporting role initially but told Wyatt it was his time take centre stage. Wyatt duly obliged and ultimately we have a feature that follows Frank Perry (Cox) who is serving a life sentence and decides to break out upon receiving news that his daughter is seriously ill following an overdose. What ensues is a wonderfully cut piece of filmmaking, as action splices between Frank's incarceration and the attempted 'prison break'.

When one thinks of prisons in cinema, what immediately springs to mind are the likes of 'The Shawshank Redemption', 'Prison Break' and a string of other American productions. Think of British prison and you struggle to get past 'Bad Girls' or 'Porridge'. This is what makes 'The Escapist' such a breath of fresh air, it's a new slant on a neglected genre that brings pure grit and brutality to the table, a realism sadly missing from many of its peers. A dark and grim milieu permeates proceedings, conveying superbly the danger facing the characters in the prison itself and also the claustrophobia of the escape effort. Unfortunately this sometimes leads to scenes appearing badly lit but this is a minor flaw in the cinematography, and one almost expected considering the film was made in only five weeks.

Frank is joined in his escape by Brodie (Liam Cunningham), Viv Batista (Seu Jorge), James Lacey (Dominic Cooper) and Lenny Drake (Joseph Fiennes) who all provide fine support for Cox. A strong British cast is rounded off Damian Lewis whose chilling portrayal of Rizza, the prison's top convict, is reason to see the film alone. Wyatt also brought in 200 real ex-cons to star as extras, coupled with a distinct lack of wardens this further adds to the menace, especially in a savage sequence involving Lacey and Tony (Steven Mackintosh). Cox, however, does steal the show. His performance is sublime, near-flawless, whilst endearing Frank to the audience he subtly reminds the us that this man is a criminal and is not to be taken lightly.

If 'The Escapist' achieves nothing else it should secure Brian Cox more leading roles in the future, his repertoire certainly extends beyond the perpetual supporting actor he has become. It will also hopefully lead to more opportunities for Wyatt, a promising young British talent. Not that this film itself is to be forgotten as just a stepping stone, it is a thrilling ride throughout; flashes to the break-out attempt ensure things continue at a strong pace, never losing grip of your attention. The final scenes are touching and your jaw will hit the floor as the penny-drop moment finally arrives. Ultimately, Wyatt has created a fine example of British cinema that is surprisingly refreshing, proving once again that everybody loves a good prison break.

Verdict: Cox may not have the looks of Wentworth Miller, but he can certainly act him off the park. British prison has never looked, felt and sounded this ugly - and that is its charm. Wyatt surely has a brighter future ahead.