| Photos (See all 11 | slideshow) | Videos (see all 4) |
| Brian Cox | ... | Frank Perry | |
| Damian Lewis | ... | Rizza | |
| Joseph Fiennes | ... | Lenny Drake | |
| Seu Jorge | ... | Viv Batista | |
| Liam Cunningham | ... | Brodie | |
| Dominic Cooper | ... | Lacey | |
| Steven Mackintosh | ... | Tony | |
| Ned Dennehy | ... | Jumpy Con | |
| Vinnie McCabe | ... | Sam (as Vincent McCabe) | |
| Jack Walsh | ... | Sikes | |
| Frank O'Sullivan | ... | Hedges | |
| Stephen Farrelly | ... | Two Ton (as Sheamus O'Shaunessy) | |
| Domhnall O'Donoghue | ... | Mary | |
| George Seremba | ... | Stan | |
| Eleanor McLynn | ... | Frank's Daughter | |
| Phelim Drew | ... | Doctor | |
| Bernadette McKenna | ... | Frank's Wife | |
| John Crean | ... | Young Prison Guard | |
| Pat Ainscough | ... | Prison Guard | |
| Alan Curran | ... | Cockney Con | |
| Tony Senior | ... | Boxing Con | |
| John Campion | ... | Screw | |
| Robert Prior | ... | Screw | |
| Marcel Vidal | ... | Rizza's Lackey | |
| Paul Vaughan | ... | Prison Tannoy Voice (voice) |
Directed by | |||
| Rupert Wyatt | |||
Writing credits(in alphabetical order) | ||
| Daniel Hardy | writer | |
| Rupert Wyatt | writer | |
Produced by | |||
| Brian Cox | .... | executive producer | |
| Alan Moloney | .... | producer | |
| Susan Mullen | .... | co-producer | |
| Patrick O'Donoghue | .... | line producer | |
| Adrian Sturges | .... | producer | |
| Tristan Whalley | .... | executive producer | |
Original Music by | |||
| Benjamin Wallfisch | |||
Cinematography by | |||
| Philipp Blaubach | |||
Film Editing by | |||
| Joe Walker | |||
Casting by | |||
| Tamara Gillon | |||
Production Design by | |||
| Jim Furlong | |||
Art Direction by | |||
| Irene O'Brien | |||
Costume Design by | |||
| Maeve Paterson | |||
Makeup Department | |||
| Rosie Blackmore | .... | chief makeup artist | |
| Lorraine Brennan | .... | hair stylist | |
| Carole Dunne | .... | chief hairdresser | |
| Aoife Mullally | .... | makeup trainee | |
Production Management | |||
| Clare Maclean | .... | post-production supervisor | |
| Alexander O'Neal | .... | unit production manager: London | |
Second Unit Director or Assistant Director | |||
| Tony Aherne | .... | first assistant director | |
| Paul J. Byrne | .... | trainee assistant director (segment) | |
| Jim Corr | .... | third assistant director: additional photography | |
| Jim Corr | .... | trainee assistant director | |
| Catherine Dunne | .... | second assistant director | |
| Nick Embery | .... | additional assistant director | |
| Anna Harrison | .... | trainee assistant director | |
| Eimear Healy | .... | trainee assistant director | |
| Alex Kaye-Besley | .... | third assistant director: splinter unit (2007) | |
Art Department | |||
| Graeme Bird | .... | propmaker | |
| Tony Boston | .... | stand-by props | |
| Simon Dalton | .... | dressing props | |
| Mick Flood | .... | property master | |
| Briana Hegarty | .... | trainee art director | |
| James Husbands | .... | storyboard artist | |
| Emer MacAvin | .... | set decoration buyer | |
| Owen Monaghan | .... | stand-by props | |
| John Porter | .... | dressing props | |
| Lucy van Lonkhuyzen | .... | assistant art director | |
Sound Department | |||
| Peter Blayney | .... | sound re-recording mixer | |
| Michelle Cunniffe | .... | sound re-recording mixer | |
| Theo Green | .... | sound designer | |
| Theo Green | .... | supervising sound editor | |
| George Hapig | .... | foley artist | |
| Alex Hudd | .... | sound consultant: dolby | |
| Karl Merren | .... | sound recordist | |
| Conor O'Toole | .... | boom operator | |
| Hallam Smallpeice | .... | sound editor | |
| Michael Wabro | .... | dialogue editor | |
| Michael Wabro | .... | pre-mix recordist | |
| James Wichall | .... | assistant sound | |
| Peter Gleaves | .... | adr mixer (uncredited) | |
Special Effects by | |||
| Kevin Byrne | .... | special effects supervisor | |
| Paul Mann | .... | special effects supervisor | |
| Kevin Nolan | .... | special effects technician | |
| Ronald Rametta | .... | special effects technician | |
Visual Effects by | |||
| Assen Balkanski | .... | previsualisation | |
| Giuliano Cavalli | .... | compositor | |
| Matt Chin | .... | 3D artist | |
| Justin Cornish | .... | visual effects supervisor | |
| Michael Deming | .... | digital film bureau | |
| Andy Foot | .... | rotoscoping/clean-up | |
| Steve Hawken | .... | compositor | |
| Henrik Jonsson | .... | 3D artist | |
| Gnana Kannan | .... | rotoscoping/clean-up | |
| Anthar Kharana | .... | lead compositor | |
| Brooke Lyndon-Stanford | .... | visual effects supervisor | |
| Allison Moore | .... | compositor | |
| Allison Moore | .... | digital effects artist | |
| Oliver Murray | .... | lead 3D artist | |
| Tony Neal | .... | matte painter | |
| John Palmer | .... | digital film bureau manager: Scanning and Laser record | |
| Rob Pizzey | .... | digital colourist | |
| Alexandru Popescu | .... | digital matte painter | |
| Jorge Quinteros | .... | roto master | |
| Tsahi Reznick | .... | 3D artist | |
| Vahid Tehrani | .... | fx artist | |
| Hannah Walker | .... | camera tracker | |
| Alex Ireland | .... | scanning & recording (uncredited) | |
Stunts | |||
| Anthony Condren | .... | stunt performer | |
| Joe Condren | .... | stunt coordinator | |
| Norman Kelly | .... | stunts | |
| John Sheridan | .... | stunts | |
Camera and Electrical Department | |||
| Robert Barlow | .... | key grip | |
| Ian Barwick | .... | gaffer: UK | |
| Amy Breen | .... | camera trainee | |
| Fionn Comerford | .... | first assistant camera | |
| Matt Fisher | .... | Steadicam operator | |
| Matt Fisher | .... | camera operator: "b" camera | |
| Robert Hallinan Flood | .... | camera trainee | |
| Niall Mannion | .... | best boy | |
| David O'Connor | .... | grip | |
| Ang Richards | .... | second assistant camera: UK | |
| Andy Sauer | .... | grip | |
| Dan Thomas | .... | best boy: UK | |
Costume and Wardrobe Department | |||
| Anna Collins | .... | costume trainee | |
| T.K. Lang | .... | wardrobe supervisor (as Ken Lang) | |
Editorial Department | |||
| Rob Gordon | .... | additional on-line editor | |
| Emily Greenwood | .... | digital on-line editor | |
| Patrick Malone | .... | digital intermediate head of production | |
| Erin McGookin | .... | digital intermediate producer | |
| Richard Smither | .... | assembly editor | |
| Laurent Treherne | .... | digital intermediate technical director | |
Music Department | |||
| Mikael Carlsson | .... | soundtrack producer | |
| Ruth Chan | .... | music preparation | |
| Marcia Crayford | .... | orchestra leader | |
| Theo Green | .... | composer: background music | |
| Lol Hammond | .... | music supervisor | |
| Hilary Skewes | .... | musician contractor | |
| Tony Stanton | .... | music preparation | |
| Benjamin Wallfisch | .... | conductor | |
| Benjamin Wallfisch | .... | orchestrator | |
| Alison Wright | .... | music supervisor: Air-Edel | |
Transportation Department | |||
| Gay Byrn | .... | driver: props | |
| Paul Cullen | .... | transportation captain | |
| Neil Ferris | .... | driver: London | |
Other crew | |||
| Renee Burke | .... | script supervisor | |
| Lisa Byrne | .... | assistant production coordinator | |
| Aoife Cassidy | .... | production coordinator | |
| Dermot Cleary | .... | location manager | |
| Grant Cummings | .... | location manager | |
| Sarah Golding | .... | script editor | |
| Richard Hill | .... | location trainee | |
| Dan Hillsdon | .... | assistant accountant | |
| Rachel James | .... | post-production accountant | |
| Timothy P. Jones | .... | digital imaging | |
| Catherina Ren Knerr | .... | assistant: actor: brian cox | |
| Greg McManus | .... | production coordinator: UK | |
| Barry Newman | .... | assistant location manager | |
| Marie-Celine O'Reilly | .... | extras coordinator | |
| Lorraine Turley | .... | assistant to producer | |
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| Michael Collins | Longford | I See a Dark Stranger | Derailed | Chattahoochee |
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| Full cast and crew | Company credits | External reviews |
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Frank Perry (Brian Cox) is a long term prisoner in a London jail where the guards look the other way and one would be wise to avoid the attentions of Rizzo (Damian Lewis), the boss inmate and his unhinged junkie brother Tony (Steven Mackintosh in scenery chewing form). The arrival of a new cell mate, Lacey (played by newcomer Dominic Cooper) coincides with Perry receiving the first letter from his family in fourteen years. His daughter is a heroin addict and close to death. Perry decides he must get out, to see her and make things right while there is still time. He goes to his closest friend Brodie (Liam Cunningham) and they enlist on-the-edge pugilist and thief Lenny Drake (Joseph Fiennes) to put together their plan.
But the film begins with the escape, cleverly setting up many questions in the head of the viewer, which are then answered in flashback. We want to know why Frank starts the escape attempt what appears to be a stab wound, how drug dealer Viv Batista (Seu Jorge) gets involved and why Lacey is part of the team when he has arrived in the prison so recently. The answers come, but slowly so that it's only at the very end that the little hints and clues scattered through the story of the escape attempt itself make sense.
This structure and the final plot twist would alone make this film worth repeat viewing, but not just for that. Writers Daniel Hardy and Rupert Wyatt (Wyatt also directed) let images rather than words do the talking, and with a cast of this calibre it pays off brilliantly. The actors are allowed to use their faces and bodies to tell us the story: Brian Cox letting his face fall into a pile of regret when he reads the letter, Damian Lewis's posture as he walks past the cells to find out what happened to his brother, the tiny shifts of expression on Dominic Cooper's face as he relives his forced dalliance in the showers with Tony, from self pity to self hatred and back again. It's top notch stuff.
Comparisons with "Shawshank Redemption" are inevitable, but while "Redemption" was really a story about hope, "The Escapist" is actually a film about redemption, about the single unselfish act that can redeem wasted years, perhaps a wasted life. And, as Perry points out, that we're only as free as we allow ourselves to be.