Nouveaustudios.

You should care what other people think, seeing as they are going to be your audience in the end. Point is, there is a film about the same character already in production and so a second one, based on fiction or truth, will likely have a hard time getting sold. All feedback can be useful if you CARE to study it.

On a side note. This is a community of members who help each other, if the help is not appreciated you are welcome to search elsewhere. I find your comments to DPG, our most prolific member who goes well and truly out of his way to HELP many of our members, inappropriate. You can disagree with someone’s opinion, but at the same time please refrain from adding such comments as “…then there?s no need to comment.” It’s petty and?comes across as derogatory towards a comment made to you in good faith.

Agreed with Knightrider, you need to specify one main character and give him a redeeming factor to help with empathy.

The wording in your logline doesn’t read well: “…A group of criminals see their escape from prison…” – how could they see their own escape which hadn’t occurred yet? They may see an opportunity to escape, decide to escape or plan one but they certainly can’t see it. “…an infamous prison breaker arrive.” I think you mean – an infamous escape artist arrives.

Why should a producer read your script if your logline isn’t written in correct English?

It seems as if you’re setting up an obstacle for the MC that he escape artist needs to be convinced, but surely the greater obstacle is the prison? Most of the action in the film will be them actually planning and escaping, whereas them convincing the guy to help is just a minor scene or two in act one. I think you can cut that from the logline as it isn’t? a significant enough part of the plot.
That said this becomes a fairly generic prison break film and begs the question; what is the hook?