Sylvester Stallone and Arnold Schwarzenegger finally properly co-star together, and the result is a superior slice of prison break nonsense.
Ray Breslin (Stallone) begins the film getting sent to solitary in a federal prison in Colorado for shanking a vengeful fellow prisoner. He promptly escapes with the help of an explosive diversion outside. And then explains to the warden how he did it, because that’s Ray’s job. Aided by his colleagues Abigail (Amy Ryan) and Hush (Curtis Jackson), Ray is sent to prisons by his business partner Lester (Vincent D’Onofrio) to compromise their security, so that weak-points can be eliminated. However, when CIA agent Miller (Monaghan’s Caitriona Balfe) employs Ray to test a new black site things go sideways. Victimised by vicious guard Drake (Vinne Jones), Stallone finds the warden Hobbes (Jim Caviziel) is not his contact, but his nemesis. Rottmayer (Schwarzenegger), an associate of a master financial hacker, is Ray’s only chance of escaping from Hobbes’ unbreakable The Tomb.
Director Mikael Hafstrom is obviously aware of the silliness of proceedings. The first appearance of Schwarzenegger is accompanied by a deliriously knowing camera swoop to reveal his face. And then a later slow-mo extreme close up on Arnie’s eyes accompanies an appropriately massive gun finally being given to him. The dialogue at times creaks under the weight of expectation for good one-liners that it can’t quite deliver. But there is so much to love in this film. Arnie freaking out in German in an extended sequence in which he recites the entire ‘Our Father’ as well as riffing on Nietzsche’s Gay Science is oddly glorious. And Stallone’s emphasis on brains over brawn is a pleasing acknowledgment of his age: his strength is his tactical nous in assessing how structural weak points best combine with the blind moments in guards’ routines.
Hobbes beautifully uses Ray’s very life work against him. If you’d read one of Cosmo Landesman’s more ridiculous rants you’d note that Caviziel’s wearing of a waistcoat, fastidious dusting of his tie, and studious hobby of pinning butterflies resemble Christopher Eccleston’s alleged coders of homosexuality in Gone in 60 Seconds. Landesman’s quite odd sometimes… Far more interesting is noting Republican Schwarzenegger’s involvement in such a politically subversive script. Hobbes dispenses with the niceties of water-boarding to simply insert a hose in Rottmayer’s mouth and let rip. Faran Tahir’s Javed becomes an integral and sympathetic part of the escape, so that suddenly either we’re rooting for a mujihadeen to get back to business or accepting that the CIA quite frequently renditions the wrong man. Escape Plan is also a needlessly star-studded film. Sam Neill gets very little to do as the sympathetic prison doctor, while the great Ryan is similarly underused.
Escape Plan, excepting some expansive pull-outs, prioritises physical sets and choreography over CGI, and is the escapist fun The Expendables franchise fails to deliver.