Prisoners

My rating is more of a 4.5Thanks for reading!𝑾𝒆 𝒉𝒖𝒓𝒕 𝒉𝒊𝒎 𝒖𝒏𝒕𝒊𝒍 𝒉𝒆 𝒕𝒂𝒍𝒌𝒔 𝒐𝒓 𝒕𝒉𝒆𝒚'𝒓𝒆 𝒈𝒐𝒊𝒏𝒈 𝒕𝒐 𝒅𝒊𝒆.Prisoners is a 2013 American thriller film directed by Denis Villeneuve from a screenplay written by Aaron Guzikowski. The film has an ensemble cast including Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Melissa Leo, and Paul Dano. It is Villeneuve's first English-language feature film.The plot focuses on the abduction of two young girls in Pennsylvania and the subsequent search for the suspected abductor by the police. After police (Notably: Loki) arrest a young suspect (Alex) and release him, the father (Keller) of one of the daughters takes matters into his own hands.It’s only fair I guess that I start with disclosures:For reasons that I will elaborate on further, as part of my research here I did something I’m not usually compelled to do:I read the screenplay for 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔. All 137 pages of it.In addition to this, I watched an interview done by Guzikowski that was designed to loosely document what adapting his writing into a full-length film took from a procedural standpoint.So: I’m going in to this review with a basic understanding of how the roots of 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔 compares to the fruit it bears and the criticism it cultivates.Up first for the dredging: My finest compliments to the chef (AKA: Roger Deakins, the cinematographer).The earliest of many occasions where Deakins and Villeneuve would join forces, the darkness of 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔’s subject matter is emphasized through an aesthetic that favors harsh lighting and the decision to shoot use a lens that is most suitable for the most dim of conditions. Almost all of the scenes occurring outside were shot on days where the sun was actively hiding - with rain and snow almost being active participants - with items such as headlights, flashlights, and candles sometimes being the only source of light on set. Consequently, audience members are often forced to perceive and make their own observations amongst motion and a collection of interactions that are both highlighted and concealed by literal shadows in tandem: and what better way to follow a cohort of characters that seem perpetually in possession of something (Or even someone) to hide?Speaking of which - on paper Loki remains vaguely contained: He’s a cop (so, he has some sense of duty as it involves justice), he’s mostly a loner, and he’s forced to contend with an abounding anti-hero as a point of reference throughout.(P.S. Shout out to High Jackman for absolutely nailing the personification of familial rage)Interestingly enough, what aren’t found in Guzikowski’s screenplay are qualities that make Loki distinguishable; courtesy of Gyllenhall (As these specific ideas were all his), Loki is affixed with a number of attributes (tattoos, and a perfectly executed eye twitch) meant to suggest that his character has a past of his own that is potentially dubious and some underlying solace of melancholy that could break out at any given moment.(P.S. Whoever decided on the slicked back undercoat for the hair style Gyllenhall sports here….please just….keep making choices. You're obviously good at that)What 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔 excels most as is an ongoing example of the power of precedence; moreover, complications that lend to nuance are successfully conjured using situations or qualities that are willingly receive through a biased viewpoint as opposed to a needlessly convoluted or narrow-minded one.Conflict revolving around impunity and complicity are snuck in like sweets that audience members may find themselves chewing on: further championing individual causes while maintaining a divisive (but authentic) atmosphere throughout.What this all contributes to is quite simple, really, as it makes some leeway for empathy that would otherwise be stubbornly withheld. We see this in how openly Keller’s actions (as a parent searching desperately for their endangered child) are both accepted and rebuked. We see this in deaths and significant events that force Loki (As someone with a penchant for perfectionism) headfirst into situations that allow little margin for error. We - although to a dimensioned extent, mind you - also see this in how easily the prime villain could be understood if given the chance after their grand reveal: fixated on some spiritually endowed retribution following their own experience with the bitter taste of bereavement, themselves.More of a footnote than a full blown complaint: I can’t help but feel the commitment to possibly fractured characters isn’t as equally applied to Alex.Almost predictably, Alex is written as both predacious and innocuous, as misdirection is one of 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔’s primary ingredients, and much of Alex’s presence is defined by an inability to disclose meaningful information; it’s what makes him vastly separable from other suspects in the larger context of 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔 (as the pressure to even interrogate him is dissipated by a larger majority of the characters well towards the end of the first act), and makes the moments where he utters mere syllables all the more important.And I can’t help but think more deeply about how Guzikowski thought best to achieve this when thought of in conjunction with the cruelty he is subsequently exposed to; quips are sprinkled throughout as commentary involving his handicap (“He has the intelligence of a 10 year”) and viewers are left with no genuine reason to believe that he is even remarkably shady (this is relevant in light of my previous point as some people may find themselves feeling sorry for Alex 𝒃𝒆𝒄𝒂𝒖𝒔𝒆 of his disability as opposed to because of his immediate actions) amongst a collage of “truth bombs” and some level of intricate comprehension that he clearly 𝒊𝒔 capable of conveying when given a fair chance.And, again: Not as big of a complaint as it sounds, I promise. What I mean to emphasize here is a lack of 𝒃𝒂𝒍𝒂𝒏𝒄𝒆 to Alex that is worth challenging and could perhaps be more thoughtfully delivered through characteristics that could be more believably manipulated (Like, just throwing it out there as a suggestion, the amount of doubt that characters could have as it how Alex 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓𝒔 things) that don’t seem static or presumably inherent.(P.S. This is where I remind my audience that I subscribe wholeheartedly to #PaulDano supremacy. No, I will not speak more on that. In all seriousness, though , would love to have a discussion about this specifically in the comment section if Amazon even had one)If obscurity is a filter that dilutes the truth than 𝑷𝒓𝒊𝒔𝒐𝒏𝒆𝒓𝒔 is as sleek as it is slippery: thriving as an assemblage of selectively loose ends and forced coherency amongst the rubble. Ambiguous and perplexing (For some, frustratingly so) while structurally robust, its baffling brilliance resembles that of a musician who has been forced to hone their craft using an instrument of their choosing that has been saturated beyond the point of recognition.There’s an intermittence of noise that could be described as unintelligible, but there’s no denying the facts:It manages, for the most part, to hit all of the right notes.P.S. I haven’t seen a single review of this film using the word A-MAZE-ING as a pun to describe it, so HERE IT IS.Thanks for reading, as usual.Hope you all are having a great day!

"Prisoners" isn't just a movie; it's a masterclass in suspense and storytelling that'll have you gripping the edge of your seat from start to finish. This film doesn't just tug at your heartstrings; it ties them in knots and leaves you gasping for air.Once the film really gets going, you're plunged into a world of darkness and desperation, where every twist and turn leaves you questioning everything you thought you knew. The story? It's like a spider's web, intricately woven and impossible to escape. And just when you think you've got it all figured out, director Denis Villeneuve pulls the rug out from under you and leaves you reeling.But let's talk about the performances, because wow! Hugh Jackman and Jake Gyllenhaal don't just act; they inhabit their roles with a ferocity and intensity that'll send chills down your spine. Jackman's raw emotion and Gyllenhaal's steely resolve collide in a clash of titans that'll leave you breathless. These guys don't just give performances; they deliver gut punches straight to the soul.But be warned: "Prisoners" isn't for the faint of heart. It's a rollercoaster ride of emotions that'll leave you drained and exhilarated in equal measure. You'll laugh, you'll cry, you'll probably scream at the screen a few times. But trust me, it's worth every heart-stopping moment.In conclusion, if you're in the mood for a movie that'll challenge you, thrill you, and leave you begging for more, look no further than "Prisoners." Just make sure you've got a box of tissues—and maybe a stress ball or two—because you're in for one hell of a ride.

Excellent movie all the way through.

Sacrifice is a common theme in Prisoners from the opening scene in the forest Keller Dover (Hugh Jackman) recites a prayer while his son Ralph Dover (Dylan Minnette) kills his first deer to the climax where the kidnapper explains that god is the reason why he or she is doing what they are doing and the reasoning behind all the violence her or she has committed, and it both benefits and hurts Prisoners making it a gripping yet an overly long and flawed mystery thriller.As with any good mystery thriller there has to be tension to keep the viewer guessing what will happen next, and suspense as to keep the viewer guessing as whom the murderer is, but first we must take a step back. Keller Dover is down on his luck carpenter whom is struggling, but still able to provide for his family. Keller a deeply spiritual man and his family head to his friend Franklin Birch (Terrence Howard) home for Thanksgiving. The two families eat, drink and have fun until their daughters Anna Dover (Erin Gerasimovich) and Joy Birch (Kyla Drew Simmons) head off on their own, and never return to the Birch's home. With the tension rising as the parents call the police and search the neighborhood for the strange RV Ralph had spotted earlier, and this is where Detective Loki (Jake Gyllenhaal) makes his appearance when he gets the call about the RV arresting Alex Jones (Paul Dano).The tension and suspense really ratchets up in Prisoners from this point on as Loki and the CSI's find no evidence that Alex took the two girls, and is forced to let Alex go free yet Keller after a confrontation with Alex is sure the man knows where his daughter is and takes matters into his own hand. Director Denis Villeneuve and writer Aaron Guzikowski do a good job keeping up the drama and suspense as they keep hinting that Alex might be the kidnapper yet at the same time throwing in more suspects along the way to keep the viewer guessing until close to the end of the film. Besides the theme of sacrifice another theme Villeneuve and Guzikowski throw in a moral one as well, and try to get the viewer to understand Keller's decisions he has made like how far would you go to find your daughter, what sacrifices would you make to find your daughter, and for the majority of the film director Villeneuve and writer Guzikowiski succeed in doing so.While I really enjoyed Prisoners I had some issues with the story, and the characters as well with the biggest issue being the climax of the film. You wanted to see if the parents were worth of god's love? I know I can't read the minds of serial killers and kidnappers, but the reasoning just didn't match the tone of the film, and where the story was headed. I expected a better thought out payoff than the one I got in Prisoners. Along with the reasoning behind the kidnapping leads to another issue I had with the final act of Prisoners in that the kidnapper could have easily gotten away with it if he or she had just answered the door for Loki. They had plenty of time to hide the evidence, and Loki had no reason or a warrant to search the home. That scene just took me out of what was supposed to be a tension filled scene. Finally there is the scene with Grace Dover (Maria Bello) and detective Loki where she explains that everything her husband did was justified and without him doing what he did Loki wouldn't have found their daughter, which is just crap. I can't believe the writers trying to justify what Keller did forced the character Grace to say that, and I know she's Keller's wife, but Grace can't honestly believe that even if she won't voice it out loud. It was simply laughable moment, because what Keller did was all for nothing. Nothing he did helped find his daughter in fact he was hindering the investigation as Loki had to look into the disappearance of Alex taking time away from searching for the missing children. Director Villeneuve and writer Guzikowiski nearly let everything they achieved in Prisoners fall apart in the final act with plot holes, poorly written dialogue, and out of character decisions made by certain characters. The other problem I had with the Prisoners was the length of the film. The film I watched didn't justify a length of two hours and a half. With some smart editing the film could have been cut down to around two hours and fifteen minutes, and I believe those cuts would have added to the tension and suspense of the film.While the final act of Prisoners faltered the performances by the actors didn't. Hugh Jackman gives his best performance since the Prestige if not his career as Keller. The emotion Jackman gives to Keller brings to life the character and the decisions he has made, and the price Keller has paid making theme. Jake Gyllenhaal also gives an outstanding performance as Detective Loki who has chosen the job over having a family. Gyllenhaal really should stay away from the blockbuster films like Prince of Persia: The Sands of Time and the Day After Tomorrow, because Gyllenhall is a far better actor in dramatic roles than action roles as he has proven in Donnie Darko, End of Watch, and Brokeback Mountain. Maria Bello doesn't have much to do in Prisoners as the distraught Grace Dover, but she gives a believable performance as a mother who has lost her daughter cutting herself off from the outside world. Like Mario Bello, Terrence Howard doesn't have much to do in his role as Franklin Birch as he is relegated to Keller's accomplice, but the experienced actor Howard gives his all in the role displaying the conflicting emotions when is morality is tested as he helps Keller in his quest to find their daughters.If not for the faulty final act, and climax Prisoners would go down as one of the great mystery thrillers like Memento, The Silence of the Lambs, and L.A. Confidential, but even with its flaws Prisoners is a riveting engrossing thriller with a quality moral story that will keep you guessing nearly to the end, outstanding performances by Hugh Jackman, Jake Gyllenhaal, and the rest of the cast that helps to turn Prisoners into enthralling, nerve-racking and thoughtful thriller, and one of the better films of the year.

The movie was a perfect mix of thriller and suspense! Always love finding an oldie, but goodie!

Denis Villeneuve is probably the best director alive right now! This movie is incredible. It haunts you, it’s suspenseful, love the music, the actors are awesome and the cinematography is top notch!

Film au delà de toute espérance, superbes interprétations, dur réalité de la vie, justice faite par soi-même

Un chef d'oeuvre du thriller noir, des acteurs très engagés dans leurs roles respectifs, Jack Gyllenhaal ( Donnie Darko, Le jour d'après, Zodiac...) campe un rôle d'un policier très méticuleux qui ne lache rien ( même chemise pendant tout le film il me semble, c'est dire on se demande si il à un foyer ) et qui risquera sa vie pour ses 2 enfants kidnappés par une secte au dessin très étranges avec à leur tête Holly Jones (interprété par Melissa Leo ) une femme probablement veuf et qui à perdu son fils. Son sous fifre interprété par Paul Dano est la claque monumental, tellement sont personnage violenté vol en éclat !Hugh Jackman ( qu'on ne présente plus Wolverine, The greatest show, Le prestige...) campe un Chrétien survivaliste prêt à bien des horreurs pour concervé sa famille indeme!Un film qui faut écouter très fort car d'importants détails sont dans quelque petites phrases et la fin comfirme toute l'importance du bruit! Avec également une scene incroyable avec une photo que Dieu lui même à disposé dans un cahos créé par la colère de Jack Gillenhall! Sur ce je vous en racontes pas plus à part le bémolle pour les voix qui sont enregisttés trop faiblement!Un film qui garde en haleine jusqu'au dernier coup de....... ♥♥♥

(sehr wenig Spoiler)könnte und müsste hier die Frage lauten?Eine Kleinstadt, zwei Familien, die befreundet sind, Thanksgiving. Sie wollen den Feiertag zusammen verbringen.Die Familie Dover geht zu der Familie Birch, es sind nur einige Häuser dazwischen, es ist hell, zwar wird es regnen, aber noch das stört keinen.Anna Dover 6,5 Jahre jung (Erin Gerasimovich) möchte rote Trillerpfeife finden, sie will mit Joy Birch, auch 6,5 Jahre (Kyla-Drew Simmons) schnell zum Dover-Haus laufen. Annas Vater, Keller (Hugh Jackman) will, dass der ältere Bruder Ralph (Dylan Minnette) die beiden begleitet, auch Joys Schwester Eliza (Zoë Soul) kann mitgehen. Alle glauben, dass dies geschehen ist...alle denken, einer hat sie zum Haus begleitet.Irgendwann sind die Mädchen gegangen und man hat sie nur kurz nicht mehr gesehen.Die Eltern suchen zuerst im Haus, in der Umgebung...die Mädchen sind verschwunden.Ralph erinnert sich an ein Wohnmobil, das beim stand. Irgendwer war drinnen.Als man die Polizei verständigt, findet man das Auto. Der Fahrer versucht zu fliehen und fährt in den Baum...Alex Jones (Paul Dano) ist ein Junge, der etwas einfältig wirkt. Die Polizei nimmt ihn fest, doch er ist scheinbar unschuldig.Man lässt ihn laufen. Seine Tante, Holly (Melissa Leo) erzählt, dass Alex ein Kind ihrer Verwandten sei, er habe ziemliche Probleme, ist "zurückgeblieben", funktioniert wie ein 10-jähriges Kind. Sie sei mit ihm allein, ihr Mann ist vor 5 Jahren verschwunden. Sein Wagen steht noch vor der Tür.Es beginnt eine schlimme Zeit. Annas Mutter, Grace (Maria Bello) liegt im Bett, bekommt Beruhigunstabletten und funktioniert nicht mehr.Joys Mutter, Nancy (Viola Davis) versucht mit der Suche, aber auch sie ist...Sowohl Eliza wie auch Ralph sind wie im Trance, sie sind als Kinder der Familie anders betroffen....Keller Dover glaubt nicht an Alex' Unschuld, besonders weil der junge Mann einige Wörter sagt, zwar ungenau, aber sie müssen, so denkt er, im Zusammenhang mit den Mädchen stehen. Er kennt auch einige Strophen des Liedes, das die Mädchen singen.Er ärgert sich auf den Detective Loki (Jake Gyllenhaal) und beginnt mir seiner eigenen Arbeit.Ein altes Haus, das ihm gehört, ist perfekt für den vermeitlichen Entführer, Alex.Was da geschieht, ist nur schwer zu sehen, es bereitet körperliche Schmerzen, aber Alex kann/will/möchte NICHTS sagen.Joys Vater Franklin (Terrence Howard) "hilft" Keller bei der "Befragung", sogar Nancy kommt einmal mit, aber dann wollen sie es lassen.Man sucht nun auch Alex, der Detective ist sich sicher, dass hinter dem Verschwinden nur Keller Dover zu vermuten ist.Die ganze Stadt leidet mit den Familien, die Polizei sucht, die Väter zählen die Tage...sechs, nur wenige Kinder sind nach einer Woche noch am Leben.Man kann es nicht glauben, doch in der kleinen Stadt gibt es viele Gehemnisse, die langsam an die Oberfläche kommen. Ein Pfarrer, der trinkt, hat im Keller buchstäblich eine Leiche...die mehrere Jahre dort liegt.Er sagt, das sei ein Mann, der viele Kinder entführt hat, deswegen hat er ihn eingesperrt und sterben lassen.Den Namen weiß er nicht, die Polizei sucht zwar nach verschwundenen Kindern...findet einige Hinweise, aber, nichts neues.Keller beginnt zu trinken, nach 9,5 Jahren, er ist besessen von Alex' Schuld. Seine Familie sieht ihn nicht mehr, seine Frau ist apathisch, sein Sohn sich selbst überlassen. Über die Schuldgefühle spricht man nicht, die HAT man!Indessen wird Detective Loki auf Bob Taylor (David Dastmalchian) aufmerksam. Der kauft Kinderkleidung, obwohl er keine Kinder hat. In seinem Haus finden sich spuren und viele sehr ungemütliche "Einwohner", doch keine Anna und keine Joy...Keller gibt nicht auf...man findet Joy, sie lebt. Wo ist Anna? Joy erzählt, dass sie Keller gehört hat, aber sie konnte nicht schreien.Wem gehört die Stimme? Wo war Keller damals?DIE GEDANKEN:kann man sich eine schlimmere Situation vorstellen, als die Entführung eigenes Kindes? Wenn man die Zeitungen liest, wenn man die Sendungen sieht, immer wieder leidet man mit den Eltern und Angehörigen! Sie suchen jahrelang, sie geben alles auf, ihr Leben ist nur noch eine grausame Nacht, immer wiederkehrende Erinnerungen an die Minute, als das Kind noch wohlbehütet da war...als man sich wegen Kleinigkeiten gestritten hat.Alles vergessen, nun würde man sein eigenes Leben geben, um das Kind zu bekommen.Kein Schmerz ist so groß, man gibt sich die Schuld, auch wenn man alles getan hat.Es genügt, dass man in einer Sekunde lang nicht aufgepasst hat. Oder sogar weniger...Kann man die absolute Sicherheit bieten?Am hellen Tag, in einer Stadt, in der man die Nachbarn kennt, in der man noch ungestört die Tür offen lässt....In der die Kinder miteinander spielen, lachen...wie überall, nur sind sie hier sicherer. So glaubt man...Wie kann man mit dem Verlust umgehen? Wie mit der Ungewissheit...das Kind ist irgendwo draußen, es ist Nacht, es ist kalt...Und die Gedanken, dass es leidet? Und, dass man es NIE finden wird?Es gibt keine Worte, die helfen, die Schmerzen sind so groß, dass die meisten Familien daran zerbrechen. Sie können nicht mehr..."neues Leben" wollen sie nich, können sie nicht...das Alte ist weg...FAZIT:der Film bringt uns an die Grenzen der Belastbarkeit. Wir sind aktive Teilnehmer, wir suchen mit der Polizei, mit der Familie, wir hoffen, bangen...wir schauen weg...Denis Villeneuve (Sicario - vielleicht noch besser...) hat nicht viele Filme gedreht. Er ist ein Filmemacher, der sich in verschiedenen Genres einen Ruf gemacht hat...man hoffe, er würde mehr drehen.Jake Gyllenhaal ist hier zum zweiten Mal zu sehen, Enemy (2013) kam in selben Jahr wie Prisoners in die Kinos.Er spielt souverän, mit seinem fast 40 Jahren (hier war er 33) gehört er zum ganz Großen!Die Rolle des Polizisten ist nicht leicht, er macht aus ihr das Beste, ist menschlich, aber auch "objektiv", wenn das hier möglich ist...Hugh Jackman ist sein Antipod, er ist jähzornig, sehr aggressiv, überzeugt, dass er den Täter hat...sein Spiel geht - bewusst- glaube ich, manchmal sogar zu weit. Die Gefühle kann er nur schwer zeigen...sonst wäre er zerbrochen.Viola Davis hat eine gute Rolle...Mir gefiel Paul Dano, ich mag diesen jungen Mann, der so vielseitig ist. Seine Rolle ist sehr schwierig, er meistert sie...wie immer. Mehr von ihm!Auch sonst hat Villeneuve mit Bedacht seine Darsteller*innen gesucht und gefunden.Es ist kein Lieblingsfilm, bei(m) Weiten nicht. Trotzdem habe ich ihn zum zweiten Mal gesehen...und gelitten. Es ist so nah an der Wahrheit, dass man die Augen nicht schließen kann. Obwohl man es...ja, man will es.Die Bewertung - fast 5 Sterne für den Mut!

The movie is far too long. Large chunks could have easily been cut from it, though I admit that the deletions would have upset the balance of time each star receives on screen. But we're the ones who have to suffer through repetitions and sidetracks that are the main problem with the movie. Except for the ending, which I loathed.The acting is excellent, though Jake's character is written as just a little too slow witted at times. And perhaps because they have both abandoned their usual on-screen personae, we can get into the plot with less trouble than we might otherwise. Gyllanhaal has never looked so unattractive, but it suits the character. And Jackman's beard obliterates Hugh Jackman, the actor.The supporting cast is good, again, having trouble only with a script that trips them up at times. But how else would they get to that ending...that dreadful ending? Which may be exactly why this movie was made....I can think of only one foreign film, and its American remake that followed this route. I avoid them like the plague, too. In fact, I would prefer the plague at the end of this movie. Among the bonus material, an alternative ending would have been greatly appreciated. As it is, though it is a good movie, it will sit in my DVD cabinet never to be taken out again and watched; I hate ruining a lovely day.