Animol

yan Dean) who exhibits - to us watching, at any rate - a certain psychopathic characteristic. Swiftly, "Troy" begins to learn that to survive in this brutal dog-eat-dog environment, he is going to have to adapt and given he is being drawn ever closer into the drug-peddling schemes of the ruthless "Dion", that's going to be much easier said than done. All the while, just to muddy the waters a little more, it seems that his relationship with "Krystian" is starting to take some unexpected turns too - and that isn't going to dial down the risk factors in an environment that is as unforgiving as it is intimidating. The one thing that this sings loudly is a question about the appropriateness of this seemingly quite random form of detention - let alone rehabiliation, and I felt that Nyuot's "Troy" really did walk on those eggshells in quite an accomplished fashion as his outwardly quite decent character becomes subsumed in a culture of fear and bullying that only he can fight his way from. Baliuk only features sparingly but latterly does work quite well as his more friendly foil whilst Diaby delivers likewise as his more manipulative, under the fingernails, one. Stephen Graham shows up now and again as the welfare officer, but aside from a scene at the very end that sort of, uncomfortably, works he doesn't really add much to an equation that I felt was more a critique of a failing approach to reform. As they say in the "Great Escape" (1963), this process is about putting all the rotten eggs in one basket, regardless of how "rotten" any of them may actually be, nor of how corrosive the effect of the worst of these individuals can be on those who are more corruptible. It takes some considerable licence with procedure and at times I did struggle on the plausibility front, but it's still a collection of solid acting performances that is worth a look.