Bushwhacker
Senior Member
- Joined
- Apr 28, 2007
- Member Type
- Student or Learner
- Native Language
- Catalan
- Home Country
- Spain
- Current Location
- Spain
PRISONERS
Canadian Denis Villeneuve makes his debut at USA with Prisoners, after his good Canadian cinema and the recognised French and Canadian coproduction, Incendies. The helmer comes back to the family with realism to play with the most distressing uncertainty as an altering driving force for its members, and to deepen in Evil and despair. While two families celebrate Thanksgiving in a Pennsylvania town suburb, their two respective 9 years old girls disappear, which makes the father of one of them (Hugh Jackman), pressed in addition for his wife, who can not bear the situation, to act in a brutal way over the one he obsessively suspects is the kidnapper and therefore knows the little girls’ whereabouts. The other family (Terrence Howard and Viola Davis), despite their loss, disapprove Jackman’s methods but they don’t stop him. Overwhelmed Police Detective Loki (Jake Gyllenhaal), in charge of the case, is clueless and is pressed for his superiors as much as for the two families. The movie evolves accurately thanks to its actors generating an unbearable tension with clues that result in fake or tangentiality, while characters and audiences, overwhelmed because of the absence of proofs, hypothesize about possible links. It’s a thriller well built which knows how to delve into dull mystery as much as into pain, even that of the kidnappers; it’s able to surprise us and creates an oppressive atmosphere impregnated with religious symbols in which moral and ethical values are tottering and minutes become hours. On the other hand, the movie knows how to end. In the air, the question: can a desperate father’s atrocity be justified?
Canadian Denis Villeneuve makes his debut at USA with Prisoners, after his good Canadian cinema and the recognised French and Canadian coproduction, Incendies. The helmer comes back to the family with realism to play with the most distressing uncertainty as an altering driving force for its members, and to deepen in Evil and despair. While two families celebrate Thanksgiving in a Pennsylvania town suburb, their two respective 9 years old girls disappear, which makes the father of one of them (Hugh Jackman), pressed in addition for his wife, who can not bear the situation, to act in a brutal way over the one he obsessively suspects is the kidnapper and therefore knows the little girls’ whereabouts. The other family (Terrence Howard and Viola Davis), despite their loss, disapprove Jackman’s methods but they don’t stop him. Overwhelmed Police Detective Loki (Jake Gyllenhaal), in charge of the case, is clueless and is pressed for his superiors as much as for the two families. The movie evolves accurately thanks to its actors generating an unbearable tension with clues that result in fake or tangentiality, while characters and audiences, overwhelmed because of the absence of proofs, hypothesize about possible links. It’s a thriller well built which knows how to delve into dull mystery as much as into pain, even that of the kidnappers; it’s able to surprise us and creates an oppressive atmosphere impregnated with religious symbols in which moral and ethical values are tottering and minutes become hours. On the other hand, the movie knows how to end. In the air, the question: can a desperate father’s atrocity be justified?
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