Prisoners (Blu-ray+DVD)

It's an intense movie, and so good!

My rating is more of a 4.5 Thanks 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!

This is one of the most moving and powerful films I have seen in a long time. This film grabbed me by the throat and never let go. This is movie making at it's most dramatic and breathtaking. Like films of the past with a similar style and story such as Zodiac and Seven, it's the stuff legends are made of. At the time I am writing this, the Oscar contenders have not yet been announced. That being said, it would be a miracle if this film is not nominated for numerous Oscars and does not win. everything about this movie is top notch, the direction is superb, the pace is electrifying, the music is foreboding and haunting. And most of all the acting is incredible. Hugh Jackman gives a performance that has to be seen to be believed. I predict he will be nominated for best actor and likely will win the Oscar. Performances this intense, believable and this raw and lifelike are rare in cinema. This is a performance of a lifetime. I'm simply astonished at Jackman's performance. And Terrence Howard also turns in what I think is the best performance of his career. I have never much cared for him all that much until now. In fact I always find him rather annoying. I don't know why. But I have a refreshed opinion of Howard after seeing this movie. His performance here is brilliant. It's understated and to his credit it is absolutely beautiful acting. One of the best supporting performances I have ever seen. This movie never goes where you expect and never ends up where you think it will. The mood of the film is grim and haunting. It never let go of me and sucked me in until the very end. It's been awhile since I have been this enthralled with any movie no matter what the genre. Prisoners is a fine example of edge of your seat master film making, and one of spine tingling suspense. If it doesn't make the list of best picture contenders this year it would certainly be a crime. This is one fantastic ride, made with passion and real skill. Not to be missed.

... das sind alle Protagonisten dieses düsteren Thrillers mit Hugh Jackman und Jack Gyllenhall des kanadischen Regisseurs Denis Villeneuve. Und gefangennehmen wird der Film unweigerlich jeden Zuschauer, den er ist packend und wendungsreich erzählt, bleibt dabei frei von Kitsch und Klisches, bewertet nicht, sondern dokumentiert nur das Geschehen auf der Leinwand. 2 kleine Mädchen werden entführt. Für die Familien beider Mädchen bricht ein religiöses, streng konservatives und bisher sicheres Idyll zusammen. Die beiden Elterpaare reagieren dabei auf unterschiedlichste Weise, mal mit Verzweiflung, mal mit Flucht, mal mit Aggression und Alkoholismus. Als die Polizei die Ermittlungen aufnimmt, gelingt es ihr schnell einen verdächtigen, geistig zurückgebliebene jungen Mann zu fassen. Doch dieser wird aus Mangel an Beweisen kurz nach seiner Festnahme wieder auf freien Fuss gesetzt. Keller Dover (Jackman), einer der Väter, ist fassungslos und nimmt - überzeugt von der Schuld des Verdächtigen - das Gesetz in die eigene Hand. Er kidnappt den jungen Verdächtigen und will den Aufenthaltsort seiner Tochter aus ihm herausfoltern. Zeitgleich folgt Detektiv Loki (Gyllenhall) einer anderen Spur, die mit anderen Kindsentführungen, die zum Teil Jahrzehnte zurückliegen, verbunden scheint... Schnell meint der Zuschauer die vermeintlichen Rollen erfasst zu haben: Die geplagten Eltern, der ehrgeizige Polizist, der "Schuldige"; doch so leicht macht es uns der Thriller nicht. Gerade als man meint Sympathie oder Apathie für einen Charakter entwickelt zu haben, schlägt dieser in eine andere unvorhergesehene Bresche. Ein Opfer wird zum brutalen Täter, ein Täter zum hilflosen Opfer. Und dazwischen ein Mann, der so besessen von Erfolg ist, dass er seine Objektivität einbüßt. So wendungsreich, so unvorhersehbar war schon lange kein Drehbuch mehr. Bravo! Villeneuve ist ein sehr dichter, düsterer und atmosphärischer Thriller gelungen, der gänzlich ohne Schießereien und Verfolgungsjagden auskommt. Im Film agieren alle Charaktere glaubhaft, alle Motivationen machen Sinn, und die Geschichte baut einen Spannungsbogen mit zahlreichen Wendungen und Überraschungen auf, dass der Zuschauer bis kurz vor Schluss keine Ahnung hat, wie die Auflösung aussieht. Immer wieder führt uns das Drehbuch auf die falsche Färte, so dass auch der Zuschauer in einem Labyrinth der falschen Schlüsse, verdrehter Beweise und falscher Färten - buchstäblich - "gefangen" wird. Die Geschichte wird durch eine beeindruckend depressive Kulisse untermauert. Der gesamte Film ist verregnet und düster. Das Bild deckt das gesamte Spektrum an Grautönen ab, nur selten werden Farben ins Bild gebracht, und wenn überhaupt wirken auch sie verbraucht und entfärbt. Der Film hält sich mit Anklagen und Stereotypen zurück. Es gibt keine Helden, aber auch keine Schurken. Moral und Ethik wird von einer zur anderen Szenen verworfen. Die Schauspielerriege überzeugt durch die Bank weg. Allen voran Jackman und Gyllenhall. Jackmans Keller ist ein konservativer Mann, der in seinem gottverbundenem Weltbild schwarz und weiß denkt. Ein Gefangener der Tradition. Der Mann des Hauses, der nicht tatenlos und handlungslos zuschauen kann. Keller muss aktiv werden. Beeindruckend ist in einer Szene ein Gebet - "Das Vater Unser" -, dass Keller zu beten versuchtEr rezitiert es bis zu dem Vers "wie auch wir vergeben unseren Sündern". Diesen Satz vermag er aber nach seinen Taten nicht mehr zu beten, und bricht besiegt und zum ersten Mal im Leben ohne Kontrolle in sich zusammen. Gyllenhall ist nicht minder ein Gefangener. Als erfolgsgefeierter Detektive, der jeden Fall löst, wird auch er Gefangen von der Obsession, die verschwundenen Mädchen zu finden. Dabei hat Loki alles in seinem Leben seiner Karriere unterstellt. Beeindruckend sind die Ticks, die Gyllenhall dem Charakter einverleibt, das intensive Zwinkern beispielsweise. Maria Bello spielt Mrs. Keller, deren Welt mit der Entführung ihrer Tochter in Scherben zerbricht. Anders als ihr Mann flieht sie sich in den Schlaf mithilfe von Beruhigungsmittel. Bellos Mimik wird dabei adynam wie zu einer Maske. Mrs. Keller wird im Verlauf der Handlung zu einem Geist, dem absoluten Gegenteil ihres Ehemannes. Paul Dano mimmt den geistig zurückgebliebenen Verdächtigen, und spielt dabei so überzeugend, dass er locker mit dem Duo Jackman/Gyllenhall mithalten kann. In weiteren Rollen sind Terrence Howard und Viola Davis, die die Eltern des zweiten Mädchen spielen, und dem Zuschauer zwei alternative Reaktionen auf das Geschehen bieten, Melissa Leo - welche die Mutter des Hauptverdächtigen darstellt - sowie David Dastmalchian und Wayne Duvall. Die musikalische Untermalung übernahm Jóhann Jóhannsson, dem ein düsterer, minimalistischer Soundtrack gelungen ist, welcher der Filmmusik zu Christopher Nolans INSOMNIA - komponiert von David Julian - ähnelt. Technische Ausstattung: Edles Steelbook ohne Booklet. Eine Kartonage beinhaltet das FSK Logo sowie eine Beschreibung auf der Rückseite. Entfernt man diese, so wird auf der Rückseite das Labyrinth sichtbar. Das Bild ist herrlich farblos und in 16:9 gehalten (keine schwarzen Balken). Tolle Bildschärfe und Kontraste sorgen dafür, dass man jeden Regentropfen sehen kann. Die üblichen Specials begleiten das Set (Making of, Dokus, Trailer). PRISONERS ist ein Filmhighlight 2013, das Sie sich im Heimkino keinesfalls entgehen lassen sollten!

With its comparatively unimaginative title and mainstream-maiden director, PRISONERS seems to have bounced in from left-field somewhat. I was utterly unaware of its existence until I found myself outside a West End cinema in one of those rare spontaneous moments where I had a couple of hours to kill. I chose PRISONERS because (a) the ace Jake Gyllenhaal is in it and (b) I would have had to wait at least half an hour for any of the other movies to start. This was obviously serendipitous because I went to see it twice more after that and was front and centre when it came out on DVD. The story is kick-started by the sudden disappearance of two young girls after a Thanksgiving dinner. Fathers Keller Dover (Hugh Jackman) and Franklin Birch (Terrence Howard) lead a frantic search, but quickly call the cops when the proximity of a suspicious campervan suggests a kidnapping. A determined Detective Loki (Jake Gyllenhaal) leads the responders, but with insufficient evidence to bring a case, he is forced to go back to the drawing board, earning the mistrust of the frantic families who become increasingly convinced the police aren’t doing enough to find the girls. From here, suspicion, paranoia and the buried secrets of a small town create a rising tension that carries you through two-and-a-half-hours-plus without a hitch. The characters are complex, flawed and troubled, but while Hugh Jackman's wounded-bear portrayal of impotent rage and frustrated piety is compelling, it's Jake Gyllenhaal's powerhouse performance as Detective Loki that really steals the show. Besides his determination to find the missing girls (and an unfairly bad press from the locals), we find out very little about him. That's not to say Loki is two-dimensional, rather that we are left to infer the finer points of his character from his greasy hair, acreage of tattoos and twitching mannerisms. He truly is splendid to watch, and he is the closest thing to a hero in the piece. David Dastmalchian’s supporting performance is also worthy of mention, somehow managing to elicit repulsion and sympathy at the same time. The movie skilfully tackles themes of parenthood, vigilante justice and the insidious power of small-town suspicion with an entirely colourless and unlovely setting. This is a bleak American midwinter, with most of the cast on the breadline and a crime that causes their fragile community values to come dangerously close to unravelling completely. It isn’t always comfortable viewing, but with some superb acting and a potent atmosphere it really is an excellent and intelligent film.

Exemplary Transaction & Item **Thank you**

Fantastic film with sterling perfomances from Hugh Jackman & Jake Gyllenhaal. I kept thinking that the character Keller Dover looked a little like Hugh Jackman & I didn't realise until I got to the end of the film that it was actually him...! Yet I had watched another film with Hugh Jackman in it only a few days before! But in this film, he came across as a completely different man. He had a beard & a different hair style & even his voice sounded different, gruffer, deeper. This I think is the mark of a good actor in that he can embrace a totally different persona.You need to keep your attention on this film too, without letting it wander off (as I did) otherwise you won't know what is going on. I had to go back & watch bits over again because ot this (I seem to do this with a lot of flims as I like to draw while I am half watching & listening.) It has so many levels this film & keeps you guessing. It's a flim I will watch again & again & again; it's that good. The only tiny negative I can give it is the title, which makes you think that the subject matter must be something completely diffferent. If it were me, I would have called it Captives. But that's me, I'm sure there are others who will feel differently. But a great film, regardless of it's title.

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!