Despite the humdrum plot, which sees a career criminal return home after 12 years to reunite with his only child, Prisoner’s Daughter from Catherine Hardwicke (Twilight) is packed with pathos.
Carried on the broad shoulders of veteran Brian Cox (Max), this film succeeds because of his performance opposite Kate Beckinsale and the chemistry they create. One which sees the latter portray Maxine, a single mother to her epileptic son Ezra (Christopher Convery), which strips away any vestiges of vanity and forces them both to confront some uncomfortable home truths.
There are so many reasons why this film should fail, not least of which is that pedestrian plotline which must have been regurgitated a million times by countless screenwriters in search of something fresh. However, what saves writer Mark Bacci is the absurdly naturalistic performances from his central trio.
Kate Beckinsale has rarely been given the credit she deserves dramatically, save for Lady Susan, having been overshadowed by the Underworld franchise forever. Prisoner’s Daughter finally gives her something substantial to tackle, which does away with the glamour and glitz of a leading lady, only for that to be replaced with a psychologically damaged yet potentially powerful working-class woman.
As audiences would expect from such a predictable plot, Maxine must also deal with her junkie ex-boyfriend Tyler (Tyson Ritter), who also happens to father to her son Ezra. One coincidental obstacle too many it would seem, as this errant father figure gets acted off screen throughout by Brian Cox, who simply sucks all available air from the room during his intensive performance.
Only an underused Ernie Hudson (Quantum Leap) can save the day as Hank, a long time friend and business partner to Max, who exploits every minute of silver screen magic he can muster opposite this magnetic leading man. Turning Prisoner’s Daughter into an authentic slice of parental drama, which passes itself off as a moral fable, while inviting audiences to ponder some relationship choices of their own.
Beyond those towering performances, Prisoner’s Daughter also manages to maintain momentum, even when the more dialogue heavy scenes might threaten to rock the boat. As emotions run high, revelations are shared, and this fractured family begins knitting themselves back together – there is a game changing sacrifice which also manages to provide closure across the board. Not bad for a Catherine Hardwicke movie which almost slipped under the radar.
Prisoner’s Daughter is in cinemas from 30 June.
