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一座历史悠久的监狱即将停止使用，孔武有力的军官汤姆·斯提尔（史蒂文·西格 Steven Seagal 饰）授命处理善后事务，保证剩余的犯人安全妥善转移到联邦监狱。为此，他找来曾经在部队的好哥们儿曼宁（史蒂夫·奥斯汀 Steve Austin 饰）帮忙。犯人转移的最后一天，所有事项都在紧张的气氛中进行，平日里便躁动不安的犯人此刻更加疯狂几分。此前汤姆还收到情报，似乎有某些人准备在里外勾结准备在转移途中有所行动。当晚，自称政府转移队的人员混入监狱，企图劫走了名叫萨曼莎（宋琇萱 Steph Song 饰）和夏洛特（Aliyah O'Brien 饰）的两名女犯。 女犯身份之谜，劫狱事件背后的阴谋，在枪林弹雨的对决中交替浮现……。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。