Photo courtesy of Warner Bros Films
There is a great film buried somewhere inside Prisoners—and I want to see it. Seriously, I want to see this exact same film—same actors, same characters, same premise, heck, even the same director (providing he can learn to restrain himself). I just want to see less of it.
It’s not that Prisoners is too long (although it is), it’s that it’s too much everything. Too dark, too melodramatic, too improbable, too horrific. Indeed, despite an obvious sense of itself as a kind of high-minded studio art film, it’s really just a supremely well-dressed horror movie.
One Thanksgiving, two little girls—the daughters of neighbors and family friends—go missing. An RV had been spotted parked on their street and when the cops find the van, the driver (Paul Dano) tries to flee. He’s brought in for questioning but he has the IQ of a 10-year-old—he doesn’t seem to have the wherewithal to pull off a kidnapping, let alone hide his motives. “You can’t pass a lie detector...