Prisonniers

Avec Prisoners, Denis Villeneuve confirme que le talent québécois en matière de cinéma peut s'adapter à toutes circonstances, avec tact, intelligence, et surtout intégrité.

A great deal of Prisoners is hard to watch due to its heavy and graphic content, but thanks to Villeneuve's direction, Deakins camerawork, and Gyllenhaal and Jackman's performances it's even harder to look away.

Jackman is fantastic, playing the tortured and vengeful sides of Keller with equal impact. His eyes bloodshot, his face a mask of weary hate; when someone offhandedly says to him "You look tired," boy, are they ever right. There isn't a single false note in his performance.

I really can't praise Prisoners highly enough, as to me it feels like some kind of masterpiece.

A difficult subject is bolstered by outstanding performances and masterly filmmaking.

Hugh Jackman gives a powerhouse performance as Keller Dover, a Pennsylvania contractor, survivalist and recovering alcoholic whose six-year-old daughter goes missing on Thanksgiving Day. He's matched by Jake Gyllenhaal, who is exceptional, haunted and haunting.

Tough as nails, achingly fallible, and wholly unsparing, Prisoners doesn't let go from its vise grip even after its chillingly provocative final shot.

Pourtant, c'est davantage du côté du fond que la patte Villeneuve, celle-là même qui semblait le pousser toujours du côté de l'ardu, de l'ambition, du multidimensionnel, paraît être restée au pays. Comme si, au fond, peu importait le fond, justement, et restait seulement l'envie de montrer sa forme.

C'est là que Prisoners flanche sous le poids de ses ambitions, ne parvenant pas à dissimuler le spectre de ses deux maîtres d'oeuvre dans une production qui demandait pourtant un traitement moins compact, plus volatil.