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Roger Deakins, eat your heart out.

Prisoners feels like the closest thing to a genuine Alan Moore movie that I’ve ever seen. It may seem cheapening to the work screenwriter Aaron Guzikowski did (stellar work, by the way) to say that, but I mean it as an utmost compliment. While Prisoners will make its way into the world on its strengths as a thriller featuring great performances, unpredictability, and moral ambiguity, there are layers within layers of symbolism, allegory, and inquiry being performed within what appears to be an eccentric, but straightforward kidnapping film. Alan Moore is a touchstone for me because of his penchant for layering symbolism in his narratives, attaching occult elements or bits of weird history into his stories. From Hell, the graphic novel, is what immediately comes to mind as I think back on this film.

I can’t think of a recent mystery thriller more surprising than Prisoners. This will probably be one of the things that leaves the biggest impression on audiences. Because the film takes its time (it’s 153 minutes long) and is very selective about what it shows and tells, it’s very difficult to predict the twists and turns. There’s a flirtation and subsequent abandoning of the conventions of the genre. It starts out feeling more formulaic, only to steadily layer uncertainty even on the level of its structure, which rolls out into the narrative and characterizations.

Prisoners is a very intelligent film. A lot of its merit will be lost on people who go into it only willing to engage with the surface. That said, it’s laudable that the movie works entirely on that surface level. It’s not perfect. There is a bit of bloat here, and there are scenes and moments that are not easily clarified in the context of the story nor its thematic significance. This can be confusing and unsatisfying as some of the lingering questions after the film aren’t the good kind.

This is a film you DON’T want spoiled. Do not read this review if you care about that and/or you’re planning to see the film. Read the rest of this entry »

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Just so’s you know, I will be doing a spoiler-free review until I’m not anymore. I will warn you about it, but mostly this is a review for people who have seen the movie or don’t give a fuck about spoilers. Anyway, let the games begin. Read the rest of this entry »

If Gyllenhaal had a moustache, this could easily be a pic from Brokeback Mountain. Celebrities just don’t age. Not like we do.

The trailer sold Love and Other Drugs as a romantic comedy that would be fairly light and breezy and focus on how two 20-somethings living in the economic bubble age would meet up and learn about love. It appeared to be the kind of movie where a shallow, skirt-chasing dude on the fast track would meet a woman, fall in love, and learn more about himself and how not to be an asshat. The trailers got that part right, but some interesting elements are constructed around the cliches.

One of the things I noticed is that there’s more going on here. From the backdrop of pharmaceutical influence on the medical industry to the familiar agonies of living with disease and living with loved ones with disease, Love and Other Drugs is trying to be real about life and it mostly succeeds. Part of its success is that the two leads come out swinging, bringing a full range of dimensionality to what could have been blatant shells of characters acting out what the patterns of this type of film demand of them like puppets on a string. Instead, we get two very real people dealing with some very real shit.

Jamie (Jake Gyllenhaal) isn’t just some random shallow turd that gets sparkled into a gem by the end, he’s a guy with some deep-seated self-esteem issues brought on by a family filled with overachievers and his resultant inability to care about anything. Here’s a guy who, like the archetype he recalls, is coasting through life just trying to get his. The character changes, though, and this is not some melodramatic instant-switch like in weaker movies of this kind. His inner self is revealed over the course of the film and the cliche moment of decision (get the girl or let her go forever) is backed by the strong characterization. It’s not like he changes in that instant, it’s that all the changes he’s undergone have brought him to that point. Jake Gyllenhaal is one of the best actors of his generation and it’s nice to see him bring something interesting to such a familiar trope.

Maggie (Anne Hathaway) is a beautiful young artist forced to live with early-onset Parkinson’s. She’s a fighter with a lot of compassion but uses her affliction as a shield to fend people off. She’s got a past with someone who could be seen as very like Jamie in some ways and this provides the justification for her guardedness. In a lesser film, she would just irrationally use her illness as a way to foil the advances of a love-seeking suitor, but here it’s about having gone down that road before and this history is there to show that Maggie doesn’t just do shit for no reason. Or so that there are obstacles to build a movie around. That said, she definitely pretends people are just interested out of pity because she’s afraid to be a burden. Until late in the film, she’s sort of living in a state of denial which she passes off as acceptance and feisty will to persevere. She’s the type who holds on to “fake it til you make it” like the Titanic is going down around her. Her issues also have a lot to do with self-esteem and so she’s kind of a mirror for Jamie, giving him the chance to bring things out himself that he didn’t know were there. And why their romance is so believable has everything to do with that he also does this for her.

So in the end, this is another fable about the transformative power of love. Your enjoyment of this movie will relate directly to your belief in that sort of thing.

Some stuff might be hard to swallow, but I think this is a film that is simply optimistic about relationships, even ones burdened with huge obstacles like debilitating illness. It might have been stronger if Maggie was sicker, but there’s enough evidence of how fucked up her life is over the disease that we don’t necessarily need it. This is not a Nicholas fucking Sparks movie (I think!) and thankfully, it doesn’t feel like one.

While Love and Other Drugs does look like just another romcom with a heart and a message, it’s a bit more real than that. I’m not saying everything is super realistic, but the emotional honesty of the film definitely is. In terms of what these two are grappling with and the ways they find to and away from each other, there’s a lot of truth here and that makes it worth a glance.

I should also mention that Oliver Platt is in this and gives another awesome little performance, though he is underused. I love Platt and I think I will call his little bits in movies “Plattitudes”.

Plus, Anne Hathaway is gorgeous and naked all the time in this movie. So is Jake Gyllenhaal and while that’s less important to me, some reading this might appreciate the head’s up.

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