The possibility of an early release hangs over “Taylor” (David Jonsson), contingent on maintaining good behavior for a few more weeks within prison walls. He typically avoids trouble, occasionally providing haircuts to other inmates in exchange for medication. The arrival of “Dee” (Tom Blyth) sparks the beginning of what appears to be a friendship as the newcomer establishes a trading operation dealing in various goods, including illicit substances. Predictably, this disrupts the existing power structure and draws the ire of established traders seeking to restore their control. However, this conflict creates significant risk for “Taylor,” potentially jeopardizing his chance at parole due to the actions of his increasingly angered and retaliatory cellmate. The film is a briskly moving prison drama that portrays an intensely brutal environment. While there are numerous correctional officers present, they seem unable to prevent contraband from entering or to quell the conflicts among inmates who operate under a survival-of-the-fittest code. Jonsson delivers a restrained performance as a character who seems quietly determined to reunite with his son; Blyth embodies a more overtly aggressive and scheming individual, and McCau effectively combines their contrasting personalities as the narrative progresses toward an ending that I found both ingenious, surprising, and ultimately appropriate. The movie illustrates prison life as essentially a holding pen for those deemed undesirable by society, but this time there’s a man with some degree of integrity and intelligence navigating his own strategy—and it's a worthwhile ninety minutes.

Source on TMDB