French-Canadian director Denis Villeneuve (Incendies, Polytechnique) has made some nonconforming and occasionally controversial films in his homeland. Prisoners marks his first English-language film with A-list stars. And while it is in some respects a conventional crime thriller in the Hollywood mold, it still manages to differentiate itself from similar movies by presenting moral and ethical ambiguity on the part of its protagonists.
Keller Dover (Hugh Jackman) is a family man with survivalist training and a motto of being prepared for when in his words, people will inevitably turn on one another. Tragedy strikes when Dover and his wife (Maria Bello) visit their neighbors (Terrence Howard and Viola Davis) for Thanksgiving and the youngest child of both families go missing. Dover initially takes his frustrations out on the detective (Jake Gyllenhaal) investigating the case. Later, feeling panicked and ineffectual, he kidnaps the primary suspect (Paul Dano) with the intent of using force to make him talk. This proves a great hindrance to the work of the detective, who, on top of the original crime, must also contend with a missing suspect and Dover’s suspicious behavior.
Essentially, this is a story about two men desperately trying to uncover the truth, but taking different paths to arrive at the same end. Both make mistakes (some more horrendous than others) and rationalize their decisions. Although the biggest clues appear to come from a softer approach to questioning, director Villenueve doesn’t overtly judge their extreme actions and never offers up simple or straightforward answers to its moral dilemmas. There are no traditional heroes on display. Instead, it leaves viewers to come to their own conclusions about right and wrong, leaving the protagonist’s motivations intentionally grey.
The film is equally impressive on a technical level. Cinematographer Roger Deakins makes striking use of camera and lights in an appropriately grey and cold manner. Interestingly, there are only brief instances of accompanying music to score the dramatic moments, leaving much of the actor’s performances bare and raw. Thankfully, the entire cast are quite strong, each dealing with their own grief and rage in a believable manner. And while brief and often portrayed offscreen, there are disturbing torture scenes that are effectively harrowing.
Prisoners is certainly one of the better crime thrillers of recent memory. As a Hollywood film, it does follows the formula, but the approach taken subtly challenges the viewer and encourages them to think about violence and its lasting effects on the individual and members of their family. It can be tough to watch, but it’s rare that a big film tackles more complicated issues. Ultimately, any film that provides opportunities for discussion long after leaving the theater is commendable.