Keller Dover stands in an abandoned house. Next to him is a shower, boarded up with a man inside. A man he believes knows where his missing daughter is. He turns on the water on full heat, scalding the man and causing him to scream, but he still doesn't offer any information. Why is he not cooperating? Doesn't he know the pain will stop if he tells Dover where his daughter is? Does he even know where the girl is in the first place? These are some of the headache inducing questions that Denis Villeneuve's Prisoners asks.
Plot
The basic plot of this movie is very simple, and at first glance may appear to be just another film in the tired "kidnapping-thriller" genre. And while some plot devices in this film are familiar, the way they are delivered is anything but. Keller Dover, his family and his neighbors are enjoying thanksgiving dinner together when Dover's and his neighbor's daughters go missing while outside playing. A search ensues and a suspect is found, but the girls are still missing and the suspect, who is apparently mentally handicapped, isn't offering any information. Detective Loki, who apprehended the suspect, has no choice but to let him go free, but Dover isn't convinced. He kidnaps the suspect and tortures him, completely fixated on the thought that he knows where the girls are. Meanwhile, Detective Loki chases up more leads and begins to uncover the bigger picture of what is really going on behind the kidnappings, all while circling closer to discover what Dover is doing to the suspect. The plot is intense in the extreme, and keeps you on the edge of your seat throughout. It also brings up some very interesting questions. How far would you go to protect or save your loved ones? Would you violate everything you believe in an attempt to get them back? Dover confesses himself to be a religious man, and we see him praying throughout the movie, along with various other religious imagery. However, his "devotion to the faith" is in stark contrast with his actions and decisions, which are at times horrifying. The only moment when the story falters is in the final act, or "the big reveal" when you finally find out exactly what's going on. It ventures ever so slightly into the realm of being corny, but the final shot of the movie makes up for it.
Acting/Writing
An area where this movie shines in particular is in that of acting. The performances in this film are believable to the utmost degree. Hugh Jackman brings a perfect mix of unhinged intensity and pitiable worry to Keller Dover's character, causing you to simultaneously feel sorry for him and afraid of him. The things he is doing are detestable, but you find yourself questioning whether it could be the right thing to do. Jake Gyllenhaal is brilliant as Detective Loki as well, as the only character who consistently makes the right decisions throughout the film. That said, you don't particularly like his character. He's very cocky and sure of himself, and is absolutely infuriating in some of the scenes involving Dover and his family. He assures them that everything will be all right, that they have their best people on it, and they're keeping all leads open.....the typical police bull, all while having a cocky smile on his face. His condescension in the beginning of the film is maddening, but as it progresses he becomes more the hero of the story and becomes truly concerned with finding the girls and putting an end to the madness. Paul Dano as Alex Jones, the handicapped suspect, pulls off the mentally handicapped, terrified child very well. You feel awful for him throughout the movie, because of what Dover is doing to him, but at the same time you wonder whether he's just putting it on as a facade. There isn't a bad performance in the movie, although some stand out more than others. The writing is also fantastic. Prisoners is one of the most realistic movies I have ever seen, particularly the scenes involving the families together and interacting. I felt as if I was looking through a window at a real family.
Visuals/Audio
This movie isn't really about flashy visuals and special effects, so in the visuals department there isn't really much to discuss. The whole movie has a sort of grungy, grey filter over it, increasing the feeling of grittiness and realism, and helping the feel of the movie. The camera work is very good as well, wisely staying away from the shaky-cam fad and sticking to more traditional style. The movie is shot in a way so as not to show all of the terrible violence that is occurring, but the beforehand or aftermath shots we get are bad enough and possibly more affecting than if they bared everything to the audience. The soundtrack is subtle but effective, and speaks more with its absence than with its presence.
This movie is a perfect example of why I love when the summer movie season ends. All of the big, flashy, effects-laden blockbusters have come and gone, and most of them have been forgotten, leaving movies like this: thoughtful, slow, and deeply affecting. I have a feeling that this movie is going to stick with me longer than any blockbuster will.
CONTENT: This is definitely not a movie for children, or for that matter young teens. While for the most part this film is not graphic or bloody, it is highly disturbing and would not be good for most people under 16 to watch. There is also a fairly heavy amount of language present. There is no sexual content.
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