invariably asked the two big questions when it comes to incarceration in this country: A did I get raped? and B is prison really like you see on OZ? Well, luckily, I didn't get raped and I've never seen OZ but anyone who wants to see what prison is like should get a gander at ANIMAL FACTORY. The entire film drips with authenticity. Within 2 minutes I felt that old queasy feeling in my stomach--exactly as if I were back there myself, all over again.For those of you out there who might think there is still a bit of rebellious glamour left in going to prison, watch ANIMAL FACTORY and take it from me: being locked up is not cool and its not fun and it is not something that anyone should aspire to.

DeFoe that carries the movie. Danny Trejo and Seymour Cassell are very good in their roles as well. Realistic and unique, this is an eye opening look at life behind prison walls. It is not the cartoon that was "Oz," it is all too real.

wish certain parts of the film where explored a lot more like learning about earls past I feel like it's a solid, well thought out and executed script with great characters, shout out to JAN Ron's cell mate.For me it's a 9/10

racial relationships, sudden outbursts of brutal violence said violence is handled with admirable taste and restraint , the horrific possibility of anal rape, the widespread availability of hard drugs, the struggle to retain one's humanity in a place where savagery reigns supreme, and the general tedium one experiences while sweating it out behind bars. Moreover, Buscemi warrants additional praise for emphasizing stark realism over cheap sentiment and lurid sensationalism -- the father/son bond that develops between Earl and Ron is genuinely touching without ever becoming too corny or sappy -- and utilizing a convincingly straightforward no-frills style throughout. Kudos are also in order for the sterling acting from a uniformly bang-up cast: Dafoe and Furlong both do ace work in their roles, with commendable support from Danny Trejo, Mark Boone Junior, and Chris Bauer as members of Earl's gang; Mickey Rourke, who's very funny as Ron's flamboyant transvestite cell mate Jan the Actress, Seymour Cassel as amiable chief guard Lt. Seeman, and, in a truly surprising turn, Tom Arnold as foul, vicious, and predatory chickenhawk Buck Rowan. John Lurie's spare bluesy score and Phil Parmet's plain cinematography further enhance the overall gritty plausibility. An absolute powerhouse.

the skinhead hardass who happens to run your block and desires not your ass but the preservation of your dignity an intellectual too, he'll even take an interest in your reading, steering you clear of an author who is a known "police state bitch" . These Speilbergian dimensions sit uneasily, to say the least, with the movie's cultivation of a hard edge and undermine what might have been a more honest, less sentimental view of survival.Verité aside, this wish-fulfillment stuff is watchable for Willem Defoe's determined attempt to wrench more depth from his character than the script can provide. We never find out why such a feared badass is suddenly so caring, and what we witness isn't enough to go on to supply our own convincing answer. Then there is the complete lack of chemistry between the principals; Edward Furlong's rather bland, disaffected character hardly seems compelling enough to risk Defoe's rep or life over. We're hammered thematically with the message that caring means vulnerability, but even teen love stories can tell us that. What's more critical to this context, yet never addressed, is: why bother?Then there's the real crime. At this moment in U.S. history our prisons are run by private companies who profit blithely from the violence boiling within; outside these pens, the drug war consumes billions of dollars in a fruitless quest. Although it is his premise, Buscemi has nothing to say about this; nothing. In fact, he has less than nothing to say, since his film's impossible sentimentality mocks the reality of the real-life Furlongs thrown daily to real-life wolves.Yes, it's all beautifully art directed, the cellblocks washed out in harsh institutional light. Mickey Rourke's minor role as a drag queen is weirdly moving, and Tom Arnold's brief appearance as a sexual psychopath has some punch. The soundtrack by John Lurie is edgy and interesting. Just don't come looking for any narrative sense, believable motivation, or much social awareness.

security against buggery. All the acting is first class, and the direction is snappy enough to keep the viewer entertained until the films climax. Keep a look out for Mickey Rourke's fantastic cameo, had he been given more screen time he would have stolen the show. A must see.

film does get slow towards the end and it loses its atmosphere once your safe in the knowledge that Edward Furlongs character is well protected by his new friends.It has to be said though, Mickey Rourke stole the show as a drag queen. One of his best performances. A must see.