[critical] PRISONERS

In the suburbs of Boston, two girls of 6 years, Anna and Joy, have disappeared. Detective Loki favours the thesis of the kidnapping following the testimony of Keller, the father of Anna. The suspect number 1 is quickly arrested, but is released a few days later for lack of evidence, leading to the fury of Keller. Blinded by his pain, the father devastated then embarks on a race against the clock to find missing children. For his part, Loki tries to find clues to stop the culprit before Keller does not commit the irreparable… The days pass and the chances of finding the girls are dwindling…

Author’s Note

[rating:8/10]

• Original Title : Prisoners

• Realisation : Denis Villeneuve

• Screenplay : Aaron Guzikowski

• Main actors : Hugh Jackman, Jake Gyllenhaal, Maria Bello, Paul Dano

• Country of origin : United States

• Output : October 9, 2013

• Length : 2h26

• Trailer :

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“And the oscar for the best actor award is given to Hugh Jackman for PRISONERS” ! Cheers, joy and happiness. Wolverine oscar winner in 2014 ? I would put my hand in the fire. And why, I ask you ? Because PRISONERS, the latest film from Denis Villeneuve (you know, Fire.) is, in addition to an excellent thriller police officer, a great, a very great film actors, as each plan is resplendent of control. Is referred to the above-quoted Jackman or his co-star Jake Gyllenhaal and Paul Dano, they impress and fascinate by a precise and intensity of every moment. In contrast to his aura of alpha male, that first surprises with its sensitivity, and finally reveals a real talent of the actor, miles from his antics mutant.

But stick to the actors would take up this nugget of staging. Where his previous film was by a few lengths, Denis Villeneuve arrives here in a complete control. Not a scene only slows the whole, does not miss or drop the pressure. PRISONERS is a film with no fat, no surplus, both at the level of narrative and aesthetic. The image is seen, the calibration is striking in its purity and the shape marries so perfectly with the background that we are allowed to exercise without scruples.

“A good imitation is a new invention “, and if the scenario is without great surprise, he manages still to capture our attention and we’re quickly plunged into a police investigation of the most effective. And if some of the pictures are not able to be avoided, the result is no less fascinating. At least, until the last scenes. How not to feel a slight disappointment at this late uncoordinated and relatively obscure, leaving us somewhat on our hunger. It is even hard to avoid a nervous laugh at the revelation of the guilty party, a true moment of comic absurdity and unintentional.

But in favor of an imaging nightmarish and engrossing, one is tempted to forget these few distractions scriptwriting. How not to get literally absorbed, lost in this thriller to the heavy atmosphere and the perfect aesthetic ?

We could blame a thousand and one things to PRISONERS : his lack of imagination, his influences too marked (the Silence of the Lambs in the head), its length (2: 30 anyway!) or status, almost demagogic magnet to the oscars, but no criticism does not affect his true identity, that of a mixture burning with emotions, suspense and violence, all enhanced by memorable performances. What could we ask more ?