Wasteman Film Review: A Brutal Examination of Britain's Prison System
Wasteman (18, 90 minutes) presents a verdict that is both brutal and brilliant. This gripping prison thriller demonstrates two stark realities: British film-making remains in excellent shape, while the British penal system appears to be in profound disarray. The film serves as a tremendously assured debut feature from writer-director Cal McMau, anchored by a riveting lead performance from David Jonsson, who continues to emerge as one of the most skilled actors of his generation without excessive fanfare.
A Stark Departure from Previous Roles
Jonsson previously delighted audiences with his sweet, effervescent performance in the South London-set romantic comedy Rye Lane (2023). However, his role in Wasteman could not be more dramatically different. He portrays Taylor, a long-term inmate struggling to maintain his physical and mental integrity against considerable odds as he approaches his impending release from prison.
The film's narrative follows Taylor, who has served thirteen years behind bars for supplying fatal drugs. The title Wasteman directly references his societal status—considered a waste of time, money, and space by the outside world. Inside the prison walls, Taylor possesses the dead eyes and shambling walk of an institutionalized drug addict. Despite his addiction being common knowledge among inmates, he maintains a quiet, inoffensive presence, working in the canteen and operating a sideline business cutting other prisoners' hair.
An Authentic Depiction of Prison Life
To his surprise, Taylor learns that his good behavior inside has earned him an early release, presumably through the controversial 'emergency early release scheme' introduced by the Labour government to combat severe prison overcrowding. McMau reportedly felt compelled to create this film after viewing real mobile-phone footage captured within prison facilities. With actual former prisoners serving as extras, Wasteman presents itself as an authentic depiction of life behind bars—a system teetering on the brink of anarchy where drugs and mobile phones arrive via drone deliveries, and daily assaults occur with impunity.
Just as Taylor prepares to leave this chaotic environment behind, he must confront a new challenge: a psychotic cellmate named Dee, portrayed with equal brilliance by Tom Blyth. For viewers whose understanding of prison life was gently shaped by the glorious 1970s sitcom Porridge, Dee and Taylor share little resemblance to Godber and Fletch, except for forming a peculiar bond of sorts.
Navigating Dangerous Territory
Dee assists Taylor in making contact with his fourteen-year-old son, whom he barely knows, but his motives are far from altruistic—they revolve entirely around control. Aggressive and insolent toward prison officers, Dee aspires to become the facility's de facto boss, but faces competition from two other hardened inmates with different ambitions.
The narrative meticulously follows Taylor's increasingly desperate attempts to navigate between these rival factions while simultaneously striving to overcome his drug addiction and avoid trouble. His ultimate goal remains clear: secure his release and begin rebuilding his life while establishing a proper relationship with his son.
Superb Tension and Exceptional Violence
As these events unfold, McMau builds tension with superb craftsmanship. However, viewers should be warned: Wasteman contains exceptionally violent content, functioning as a gut-punching drama within the uncompromising tradition of Scum (1979) and Starred Up (2013). Even if general audiences choose to avoid this intense experience, Home Office ministers would benefit greatly from viewing it to understand the realities of the system they oversee.
If I Had Legs I'd Kick You: A Painfully Funny Companion Piece
If I Had Legs I'd Kick You (15, 113 minutes) offers a verdict that is painfully funny. While lacking a prison setting and operating notionally as a comedy, this film similarly explores one individual's increasingly frantic efforts to overcome seemingly insurmountable challenges.
The story centers on Linda, portrayed so beautifully by Rose Byrne that she has already secured a Golden Globe and stands as second-favorite to win Best Actress at next month's Academy Awards. Linda works as a psychotherapist, professionally responsible for helping others find balance in their lives—even as her own existence tilts dangerously toward the abyss.
A Mother's Overwhelming Struggles
Linda cares for a sick daughter requiring constant attention, a situation that becomes significantly more complicated when they must relocate to a shabby motel after their apartment floods due to a spectacular ceiling collapse. Her husband, played by Christian Slater, remains away at sea, adding to her stress through judgmental phone calls home. She receives precious little empathy from her therapist colleague, portrayed in a rare dramatic role by talk-show host Conan O'Brien.
Writer-director Mary Bronstein has revealed that she channeled her personal experiences caring for a seriously ill child into this project, describing the film not as autobiographical but as 'emotionally true.' The result offers a madcap exploration of motherhood's multitasking demands, interspersed with moments of pure surrealism and riotous black comedy—such as when Linda attempts to manage a hamster loose in her car.
Focus on Maternal Experience
Significantly, the camera provides numerous unsparing close-ups of Byrne while only briefly dwelling on her daughter. This storytelling approach ensures the narrative focuses on how a child's illness affects her mother rather than becoming solely about the illness itself. The production benefits from two notable producers: Bronstein's husband Ronald, who co-wrote the recent hit Marty Supreme with Josh Safdie, and Safdie himself.
If I Had Legs I'd Kick You fizzes with the whirling, kinetic, chaotic energy characteristic of both Marty Supreme and 2019's Uncut Gems, which Ronald Bronstein co-wrote with both Safdie brothers. This rewarding yet crazy film guarantees that viewers will rarely spend a more exhausting 113 minutes sitting down, offering a unique cinematic experience that balances emotional truth with surreal comedy.
