With his back-and-forth narrative and less-is-more approach to characterisation and dialogue, it takes a while to get on director Wyatt’s wavelength.

But stay with him, because in concentrating on the mechanics of the escape, his first feature is mercifully free of all that Shawshank-style philosophising and more plausible than any small-screen Prison Breaks.

The ever-watchable Cox is Frank Perry, an inmate taking ‘life’ in his stride. Until, that is, a letter arrives telling him that the daughter he hasn’t seen in 14 years is close to drug-related death.

So now he wants out. His job in the laundry gives him the idea. But he’s going nowhere unless he secures the services of Lenny the lock-breaker (Fiennes, playing it mean and moody) and Brodie (Cunningham), a former sewer worker who knows what lies beneath the prison.

Unfortunately, the block’s resident rapist/junkie Tony (Mackintosh) has not only taken a shine to Frank’s new cellmate Lacey (Dominic Cooper of The History Boys), he’s also wise to their plan.

As the brother of jailhouse ‘Mr Big’ Rizza (Lewis), Tony is untouchable. Which is where drug dispenser Batista (Brazilian actor/musician Seu Jorge) comes in.

One benefit of a low budget is that it forces filmmakers to be inventive. In that respect this thoroughly effective Anglo-Irish production - shot in 26 days - is a fine display of Wyatt’s talent.

However, his constant switching between pre- and post-lockdown events does have a double edge, favouring intrigue (how did they all get there?) over suspense (they all got there).

Offered no clues as to what crimes the men committed or how Rizza became the hoosegow 'daddy', viewers are also encouraged to use their imaginations based on the nuances of each character. In the hands of this cast, the film pulls it off.

Indeed, The Escapist makes full use of the power of suggestion right up to its revelatory twist.

Certainly worth making a break for.

Elliott Noble