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I am the first to admit that the Oscars are rarely given to the finest in the art of film, but much more likely to the loftiest of middlebrow entertainment (with some edginess thrown in on occasion for good measure).
At the same time, I think we do have one thing to be grateful for when it comes to the Academy. Since the balloting closes the first of the year, more and more, fall and early winter leaves behind the cheek of tan, tent pole blockbusters of summer (films forced into as many of the four quadrants as it may fit) and gives way to producers who, like the changing colors of leaves, turn to releasing their prestige pictures, the ones they believe have the best chance at garnering the attention of the gold statuette who hides his genitals with a sword.
These films are the ones that producers and studio executives feel they don’t have to apologize or make excuses for and instead can brag that they actually had a hand in their making.
One of these films, Spotlight (or All the Cardinal’s Men as a friend of mine called it) is now being spoken of as the one to beat come spring. And, taking everything into consideration, they could certainly do far worse, because, however else you may feel about it, Spotlight is the epitome of middlebrow taste, and, even better, is crackerjack entertainment. Read the rest of this entry »
For the 2011 Oscars, Canadian director Denis Villenvue’s film Incendies (a puzzle film about twin brother and sister who find out they are closer to their unknown father and brother than they thought) was nominated for best foreign language film. In punishment for his sins, Villenvue was given the movie Prisoners to make.
Actually, I don’t know if this is accurate or not. As far as I really know, this was Villenvue’s pet project from beginning to end. But it sure feels like proof of that anecdote by Michael Haneke who came to the U.S. and was presented with a screenplay so outside his purview, he asked (and I paraphrase), “Is this what Hollywood is? You come here and they just give you whatever screenplay they have lying around in a drawer” (a viewpoint that seemed proven as far as I was concerned when the dynamic Korean filmmaker Chan-wook Park was given the embarrassing screenplay of Stoker to make).
There is one good scene in Prisoners, a routine thriller about child abduction written by relatively newcomer Aaron Guzikowski. It comes early on with Jake Gyllenhaal as Detective Loki (Loki? Okay, sure, why not) interacting with a waitress at a Chinese restaurant. They talk about animal signs and fortune cookies and it has nothing to do with anything, but it is witty and fun. But after that (and before that as well), everything goes downhill rather quickly. It plays with religious imagery, but that all feels clichéd and under dramatized. And the movie brings nothing new to the genre, seeming to have no real purpose for existence, even the purpose of a movie that does nothing, but does it very, very well.
Prisoners is a one note film. It starts at a relatively high point of tension (even before anything happens) and pretty much stays there the whole time. Everyone seems so angry in the film. Hugh Jackman, trying a bit too hard to play against type as everyman working class father Dover, feels angry from the opening shot (both literally and figuratively, but you’ll have to see the movie to get the pun). And the scenes with Loki at the police station are so filled with furious confrontation, it feels like an episode of Law & Order: SVU (I never knew how anyone could stand working with anyone in that show, they were all so unprofessionally mean to each other). Even the weather is angry; it’s always overcast, raining or snowing. And when there’s no place for anyone to go, when they do go there, it tends to become camp, over the top and unintentionally funny.
There’s only one really effective performance in the move and that is Wayne Duvall as the Captain at Loki’s precinct. He’s one of those, I know I’ve seen him a million times before, though I can’t quite place where, actor. And he is spot on. But everyone else, Jackman, Terrence Howard, Viola Davis, the unrecognizable Melissa Leo and Len Cariou (or maybe I just didn’t want to recognize them), and the unfortunately recognizable Paul Dano, just can’t do much with what they’re given. At least Mario Bello, as Dover’s wife, is lucky enough to have a character so traumatized she takes sleeping pills and is out for most of the film.
Because I and my friends could never become emotionally involved in the movie (though our eyebrows got plenty of exercise as we rolled them over and over again), all that was left for us was to wait, and wait…and wait, until we find out who did it. And because we could never become emotionally involved, all we did afterwards was pick apart the plot (a highly convoluted one by the time it’s over, a bit too clever perhaps than was necessary, but it did seem to hold together). If we had been riveted by what was going on and so involved with the characters and what they were going through, we probably wouldn’t have cared about the details so much (especially a particularly hysterical one at the end where Loki has the choice of calling 911 for help or speeding to get a little girl to a hospital down a crowded freeway during a deluge of a rainstorm while in danger of blacking out from being shot—guess which one he chooses?).
I do hope that as far as Villenvue is concerned, this was a take the money and run movie and that he’ll next return to his roots and make something that means something to him and not to some producer’s profit sheet. We can only hope.