The pumped-up Prisoners nearly gets lost in its own plot twists
Hugh Jackman and Jake Gyllenhaal star in Prisoners.
Wilson Webb/Alcon Entertainment
If five Oscar nominees lose two young girls in the woods, will their wailing make a sound? That's the key question of Prisoners, Denis Villeneuve's prestigious puffery about a father (Hugh Jackman) and a cop (Jake Gyllenhaal) trying to catch a kidnapper. Prisoners is a dog whistle for Academy voters keyed to a pitch that screams, "For the love of God, nominate me for something!" It might work, except that a) it makes no sense, and b) it's not from Clint Eastwood, the only director with enough swagger to demand that such shlock be taken seriously.
Our setting is a gray Pennsylvania town, the type where most of the houses are held together by cheap aluminum siding, where an ordinary man like Keller (Jackman) can teach his son to hunt in case a hurricane blows civilization away. Keller is a survivalist with six stacked columns of Crisco in his basement and an innate certainty that he can do better than the experts. That includes Detective Loki (Gyllenhaal), the soft-spoken crime-solver charged with tracking down Keller's six-year-old daughter, Anna (Erin Gerasimovich), and neighbor girl Joy (Kyla Drew Simmons) after they go missing on Thanksgiving afternoon.
Keller admits he isn't the sharpest tool in the shed, but he's the kind of guy who makes a point of keeping all of his shed's other tools well-sharpened. Initially, he begs Loki to help him make sense of the facts that don't add up: Why was local weirdo Alex Jones (Paul Dano), a childlike near-mute, parked in an RV by their street? Why did Alex try to escape when questioned by the police? And why can't Loki keep him in custody even though the only evidence Keller has to go on is a glint in Alex's eye?
Directed by Denis Villeneuve. Written by Aaron Guzikowski. Starring Hugh Jackman, Jake Gyllenhaal, Paul Dano, Maria Bello and Viola Davis.
Loki brushes him off with police platitudes — "We're considering all possibilities" — that don't even soothe Keller's sleeping-pill-stupefied wife (Maria Bello). He doesn't realize Keller may be the only man in town brave enough, and risky enough, to take matters — er, make that Alex — into his own hands. And fists. And hammers. And homemade torture chambers.
Villeneuve is interested in the raw ugliness of human desperation, and parts of the film get so bleak that it's surprising to realize it's not a remake of something Swedish. But while Prisoners beats Dano into bloody tartare, it still pulls its punches. As soon as he slices open Keller's conscience, Villeneuve panics and tries to shove the meat back inside. Jackman does his damnedest to give Keller a monomaniacal conviction — he does hollow-eyed agony better than the rest of Hollywood's muscle men — but neither we nor Villeneuve ever buy him as anything but a blue-collar hero. The part needs either a real hothead, a Michael Shannon type, or a geek who can't believe he's violating the Geneva Convention. Instead, Prisoners tries to sway our sympathies toward the father of the other missing girl (Terrence Howard), who simply stands around Keller's makeshift interrogation room second-guessing his tactics while changing in and out of his nice slacks so they don't get spotted with blood. He's useless.
Prisoners wants to believe in an old-fashioned honor code. It's so macho that every female character is kidnapped, drugged or sidelined to the margins of the plot — even Viola Davis, as Howard's wife — yet so in touch with the pressures of machismo that Jackman, Gyllenhaal, Dano and Howard compete for the most close-ups while crying. In their own way, each of these guys is pressured to do right by his own responsibilities, be they familial, career-oriented, survival-related or civic. But when their personal complexities start getting in the way of screenwriter Aaron Guzikowski's plot twists, he and Villeneuve just throw away the parts that don't fit. They want a film that looks good, blood and weeping scenes and stuff, and they don't care if that means hollowing out the story's internal logic. After two and a half hours of froth, the final product is as grandiose and flimsy as a twelve-foot sand castle.
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