| Photos (see all 9 | slideshow) | Videos (see all 11) |
| 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 | |
| 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 | |||
| 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 | |
| Jim Corr | .... | assistant director: additional photography | |
| Jim Corr | .... | trainee assistant director | |
| Catherine Dunne | .... | second 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 | .... | 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 | |
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 | .... | 3D artist | |
| Hannah Walker | .... | camera tracker | |
Stunts | |||
| Anthony Condren | .... | stunt performer | |
| Joe Condren | .... | stunt coordinator | |
| Norman Kelly | .... | 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 | |
| Ang Richards | .... | second assistant camera: UK | |
| 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 | |
| Erin McGookin | .... | digital intermediate producer | |
| Richard Smither | .... | assembly editor | |
| Laurent Treherne | .... | digital intermediate technical director | |
Music Department | |||
| Ruth Chan | .... | music preparation | |
| Marcia Crayford | .... | orchestra leader | |
| Theo Green | .... | composer: background music | |
| 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 | |||
| 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 | Twelve Monkeys | Chattahoochee |
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One of the best British movies I've seen in years, this has it all- a strong cast with Brian Cox turning in the performance of a lifetime - all restraint and pent-up frustration - a script that twists and turns and keeps you guessing and puzzling until the very end... and after! Grim and intensely atmospheric, the film develops into something quite unusual for the genre, and redeems its characters and even its battered viewers in the last act. It shows that a crime movie from the UK doesn't have to be all flash and swagger, it can have intelligence, sensitivity, originality. Take note, Mr Ritchie! The pace of the film, and in fact every shot and every noise, is choreographed and conducted by newcomer Wyatt with a fine balance of detail and speed. We don't need to know much about these characters: like in a real prison, they are keeping themselves to themselves. Motives are shadowy and allegiances are born of necessity. Cutting between the escape and the hatching of the escape plan makes us approach the film as a puzzle right from the start, and as the pieces fall into place, the final twist is set up perfectly. I'm looking forward to more work from the makers of this soon-to-be-Cult Movie.