The Secret Life Of Walter Mitty (C)


SYNOPSIS:

Is it fantasy or is it real? Can the world around us take a different shape and explore an imaginary reality that only our minds can conjure up? For Walter Mitty (Ben Stiller) this is a very real and easy possibility. The Secret Life of Walter Mitty, based on the short story by James Thurber and the 1947 version starring Danny Kaye," is a story about Walter Mitty, a mid 40's negative assets manager at Life magazine. His job is to process the negative photos that come to Life from journalist photographers around the world. As mundane as it may sound, Walter has an escape from this ordinary and routine life, his mind. While the world carries on around him Walter can stare blankly into space and imagine himself as an action star, a hero, a rugged mountain man, or whatever he envisions. His exploits seem to center around one of his female co workers, Cheryl (Kristen Wiig) whom he has a huge crush on. Being to nervous to speak or communicate with her his mind continuously takes over as he imagines himself impressing her. One day both of their worlds are turned upside down as Life magazine decides to get rid of the paper issued magazine and move to an online viewership only. This can only mean an inevitable downsize and unfortunate layoffs. Now, Walter Mitty's job seems to be in jeopardy made clear by the smug and egotistical leader of the acquisition Ted Hendricks (Adam Scott). The only thing giving Walter a chance to hold onto his job is a negative photo sent by recurring photographer Sean O'Connell (Sean Penn) who works only with Walter in his photo submissions. The photo he submits is the last photo that will grace the paper cover of Time magazine. Unfortunately the photo is nowhere to be found. And with the rogue photographer virtually impossible to get in contact with Walter has no choice but to hunt him down, travel the world, and experience what he as only ever imagined in the hopes of finding the photo before his job is terminated.


REVIEW:

At the heart of The Secret Life of Walter Mitty is the idea to get out of your normal routine and explore beyond your boundaries. As citizens of society it is easy for life and our means to dictate what we see and do. As things become more mundane and stagnant we lose sight of our possibilities. As poetic of a concept this may seem the film also falls guilty of this too. Yet it didn't start that way as the film was enriched with beautiful transitions and a feel that was completely appropriate for the story. Slowly the story starts to develop and change yet the feel and look of the film does not. The idea of "get out and do something with your life" was presented and less and less of the story and the overall film making was taken into consideration.

The Secret Life of Walter Mitty, directed by Ben Stiller who occasionally steps behind the camera to make a film here has decided to not only direct but act as well. Here was his first and biggest mistake. By miscasting himself as the films lead, Ben Stiller was then forced to split time between acting and directing. This tactic has been successfully done in such films as "Braveheart" or any George Clooney made film, but in The Secret Life of Walter Mitty, this took away so much from the film. Whether it was shot selection, camera placement, or just the meticulous details that can only be seen by directing behind the camera the film suffered a great blow. If Stiller would have focused his attention solely on film making here the outcome might have been something greater. This split approach was no match for Cinematographer Stuart Dryburgh either who in fact gives the film a great feel with color and shadows. If only Ben Stiller would have limited himself to staying behind the lens it would not only have aided the cinematography but he would have noticed how off centered and redundant his films message had become.

The films message was actually the only thing going for the film. It explores the idea that life is short, we are living day to day in our same routines, and what exciting things might happen if we step out of the norm and go explore. This thought is something to actually sit and ponder and determine if there might be a change necessary in your life. How exciting it can be to wonder what just might happen on an adventure. Yet the film exploits this thought in almost every other scene and repeatedly tells us this idea instead of just touching on it briefly and letting the characters go. With this amount of repetition the film loses that exciting edge that it builds itself around. If you think I am continuously reiterating this notion, just you wait until you watch the film and experience the redundancy for yourself.

Ben Stiller delivers an average performance at best as the quiet and wondering Walter Mitty. How easily this character could have been played by anyone else as Stiller seemed out of his element. More accustomed to humor, he packs the film with small tidbits of comicality placed throughout in random form. With this humor does come the possibility of relief from the more serious, and yes over repeated message of the film. This is exactly where the film flourishes as the hilarious Kristen Wiig who plays Walter Mitty's love interest Cheryl and Patton Oswalt who plays an over helpful E Harmony phone agent provide us with characters we are willing to support. Adam Scott who plays the pompous and self centered Ted Hendricks always seems to be at his best when playing the villain, however his character at times is mixed between good and evil in a way that confused me as to what he was all about. And let us not forget about the mysterious photographer Sean O'Connell played by the great Sean Penn. With such limited time on screen he makes the most of the time given and directly appeals to our longing to get out and experience life and explore the thrilling possibilities the world holds. With this being the only real seriousness to the film I am glad they decided to cast such a powerful actor for this approach.

The world that surrounds Walter Mitty is rather beautiful and filled with fascination. The film does make a great case to go and see the places around us and take in it's beauty. And golly Iceland has never looked more beautiful and appealing. However I could have easily looked at a travel magazine to get this knowledge. What I was hoping to see was more substance to the film and a better connection to the characters and their feelings. And of course not to be relentlessly bombarded by the same notion that I need to get out and do something more. Maybe if the film had done the same it could have achieved just that.


OVERALL: (C)

Directing (C-)
Ben Stiller

Script (C)
Steve Conrad

Acting (C+)
Ben Stiller, Kristen Wiig, Adam Scott, Patton Oswalt, Sean Penn, Shirley MacLaine

Cinematography (C+)
Stuart Dryburgh

Set Design (B)


SCENE TO LOOK FOR:

Any scene with the humorous Patton Oswalt who plays the E Harmony phone specialist Todd Maher. His ability to provide humor on a more even keel and well timed out pace does wonders for the film. As the movie drags on and random bits of humor are implemented that often are edited with far too long sequences, Oswalt brings much relief. Even though he is subject to the overstatement of "do something with your life" he delivers the most persuasive performance of anyone. What a simple yet effective character.


SHOT TO LOOK FOR:

EXT. CORNER 5TH AVENUE, 43RD STREET, NYC - DAY

During the morning rush hour, a crowd of businessmen waits on the corner to cross the street. Walter is among them, dressed in a short-sleeve business shirt and tie and with a briefcase on hand. Nothing happens. Then Walter’s head explodes.

CREDITS BEGIN

Up toward the clouds, propelled skyward, were the contents (ideas and images) of Walter’s head; they’ve begun to float toward the ground.

INT. SKYSCRAPER, NYC - SAME

Some office work is going on. Then past the window (outside) comes floating down, in slow motion, Juan Valdez the Colombian Coffee guy (his donkey’s floating down way in the distance).
This happens outside other high-rise and professional building windows - a floating Bishop Desmond Tutu, the silver Monopoly piece Top Hat, Statler and Waldorf (the two elderly curmudgeons from The Muppet Show) and additional detritus from Walter’s mind such as Manute Bol, The Beastie Boys, etc. CREDITS PLAY.

The transitions in the film are mesmerizing especially at the beginning of the film. The film thrives with these transitions alongside the daydreams that exist only in Walter Mitty's head. As the world around him suddenly takes on a surreal approach and the most bizarre and visually entertaining events begin to happen, as a viewer I could not help but want to see more and more of these exploits. Though there is a very blurred line between what is real and being imagined by Walter at times, nonetheless they are rather impressive to watch.

American Hustle (A)


SYNOPSIS:

"Good times, bad times, you know I had my share" are the words classically sung by Led Zeppelin from their song "Good Times Bad Times, most notably used in the trailer of the film. American Hustle encapsulates these words and dishes a slice of both to every character revealing the vulnerability of high profile hustling. American Hustle is based roughly around the true story of of the FBI Abscam operation in in the late 1970's that garnered much attention due to the high profile politicians that were involved. The story revolves around two con artists, the overweight and cunning Irving Rosenfeld (Christian Bale) and the alluring Sydney Prosser (Amy Adams) conning poor men with bad gambling habits out of thousand of dollars. Life is good for the two as they fall madly in love with one another and enjoy the spoils of a thieving life. That is until one of these poor men, Richie DiMaso (Bradley Cooper), turns out to be an undercover FBI agent who had been on their case for quite awhile. With their gig up, Irving and Sidney are given a choice, either face hard time or work for the FBI as undercover conmen in hopes of catching more criminals, like themselves. They accept and begin a slow starting investigation into the corruption that befalls local politicians up into the higher ranks of Washington D. C. The case soon surrounds the ambitious New Jersey Mayor Carmine Polito (Jeremy Renner) and his plans to re build Atlantic City. In the midst of the investigation a tangled love affair soon begins as Sydney becomes more and more attracted to Richie at the dismay of Irving. Not only is Irving struggling to successfully con high power figures but is risking the possibility of losing his one true love. Yet scandalously Sydney is not his only love. Irving is a married man, married to his childish and unpredictable wife Rosalyn (Jennifer Lawerence) who wants nothing more than to be rid of Sydney and interfere with the entirety of Irvings work. With his world much in chaos from the surrounding events Irving has no choice but to hustle those he knows to potentially escape to a life he wants. However he is not the only one with ulterior motives  throwing into question who really is hustling who and will the conman ever be caught in their high risk game with the FBI.


REVIEW:

David O Russell has done it again. The director of films such as the "Fighter" and "Silver Linings Playbook" has unveiled his best work yet in American Hustle. Now the content of the movie may not be as strong as some of his previous work but the acting he is able to invoke alongside the cinematography used, by far separates this film from his others. 

Honestly it's hard to go wrong when you have such great acting attached to a project. American Hustle shines so bright in this area that the movie takes on a persona of it's own. From the first scene where we witness Irving played by the subtly immersed Christian Bale, fixing his natty comb over to the first time we see Sydney Prosser played by the sultry Amy Adams we forget to realize we are watching actors on a screen. Bale and Adams deliver powerhouse performances that travel such an amazing character arc into the world of fraud, betrayal, and surprises of their own. With award season upon us, both may easily be up for nominations for acting trophies, with my hat off to Amy Adams who I feel captures the multiple characters she is forced to play along side a quiet british accent. With a supporting crew of Bradley Cooper who plays the over eager Richie DiMaso sporting more hair curlers than I thought possible along with Jennifer Lawrence who plays the jealous and attention deprived wife of Irving Rosenfeld, only adds to the stacked all star cast. And don't forget Jeremy Renner who plays the pompadour haired Carmine Polito who gets caught between the FBI and taking bribes. His moment to shine comes at the end of the movie in a heart wrenching conversation with Irving. On a side note I feel that Jennifer Lawrence may have been over hyped going into the film. Although she delivers accurately an over the top jealous wife who wants nothing more than to be involved in her husbands affairs she comes across almost as too childish. Now this may have been what the direction had called for and maybe she embodied the role perfectly and undoubtedly award nominations may be in her future but at times she felt out of place amongst the grown up acting happening around her.

With such great acting it can easily become a distraction to the beautiful and well executed Cinematography of Linus Sandgren. The camera moves around the characters in well timed out manner from scene to scene and the repeated closeups allow the actors their dues. The look of the film invokes the time period perfectly as the color pallet of yellow and brown mixed with gold is a reminder of the late 1970's. There is a muted and grainy look to the film that adds character to the seedy con artisty and old school FBI undercover work. It's the well executed camera movement that not only gives the actors their dues but reveals what we need to know when we need to know it. The entire film is filled with this mastery as even simple camera closeups or dolly shots play justice to what is happening on screen. It is here that I believe American Hustle should be up for a Best Cinematography nod. The use of a camera without the special effects is something that needs to be cherished and this movie does just that.

And finally let us not forget the wonderful and intuitive directing of David O Russell who over the past 4 years has become one of the premiere and elite directors in tinsel town. His ability to capture performances from his actors that are appropriate to the content of the film and from scene to scene easily seperate him from the current pack of directors. From the meticulously thought out camera work to the wardrobe that alone makes this movie iconic, David O Russell succeeds in every category. If you are looking to watch the mastery of a great film director, American Hustle has what you need. I believe the directing in American Hustle has been far superior than any other film in this years award season. There is nothing like good old fashion directing, without the special effects and CGI, but with calculated camera placement, impeccable acting, and the understanding of script to set this film apart.

American Hustle will leave you somewhat taken aback by the realness to the story and the idea that every man is out for himself. It's a reminder of human behavior and the longing for more in life and the lengths we are willing to go to achieve it. Every character of the film portrays these motives that mirror such thinking. And all are not immune to the good and bad times that accompany the lifestyle of crime and hustling. Overall, If you're looking for a throwback movie to get the sight and feel of the 70's then American Hustle will give you just that. If you are into exceptional acting on a higher level then look no farther. The film not only succeeds in its acting, story, directing, and cinematography but flourishes in the knowledge that in a cutthroat world you must watch your back or how easy it can be to get hustled.


OVERALL: (A)

Directing (A+)
David O Russell

Script (B)
Eric Singer, David O Russell

Acting (A)
Christian Bale, Amy Adams, Jennifer Lawrence, Bradley Cooper, Jeremy Renner

Cinematography (A+)
Linus Sandgren

Set Design (B+)


SCENE TO LOOK FOR:

Richie DiMaso and Irving Rosenfeld are walking side by side in an art gallery

They approach a forged but very real looking Rembrandt painting

Irving

"It's a fake"

Richie turns to Irving in disbelief 

Richie

 What are you talking about, 

that's impossible 

Irving

People believe what they want to 

believe, because the guy who made 

this was so good that it's real to 

everybody. Now who's the master, 

the painter or the forger?

This scene accurately depicts the mindset of the con artists in the film and what backs their motives. Like most con artists such as Irving Rosenfeld, they take pure pleasure in the ability to successfully con and trick people into believing what they want them too. Their mastery is in the deceit of the trick and not the gain that is made from such foolery. This is the undercutting theme of the film that David O Russell successfully inputs thru out the entire story.

SHOT TO LOOK FOR:

The opening scene of the film where Irving Rosenfeld (Christian Bale) is seen adjusting, stuffing, and attempting to style his comb over. This is a somewhat humorous scene to watch that serves two purposes for the film. First it reveals the character of Irving Rosenfeld, a true hustler at heart, who even with his hair attempts to fool your eye into thinking he has a full head of hair. And the second more fitting reason would be the look of the films characters. American Hustle is filled with the glamour hairstylings of the era it embodies and while all are relatively flamboyant, Irving Rosenfeld takes the cake. To be honest I'm not sure I have ever seen a hairstyle from the 1970's that would be accepted today by any standards ,especially the comb over but this specific look on Christian Bale is classic and not soon to be forgotten.

The Book Thief (B-)

SYNOPSIS:

The persecution of Jews during World War II was one of the most horrendous things to come out of the war. As terrible as it was, another extermination was happening, roughly the same time that had it's own place in the horrors of war. The purging of literature. The Book Thief, weirdly enough narrated by death, begins with a young girl named Liesel Meminger who is taken from her parents and given to another German family to be raised. Without reason Liesel is thrown into a completely different lifestyle and family unaware that she may never see her parents again. Her foster parents, the friendly and mischievous Hans (Geoffrey Rush) and the stern and strict Rosa (Emily Watson), adopt and quickly adapt Liesel to the lifestyle under their roof. Liesel is unsure and nervous about her new situation but finds comfort in a young boy named Rudy, who she befriends on her way to school. Sadly, at school Liesel is picked on by her classmates for her inability to read an write which comes to the notice of her new father Hans. He decides to take it upon himself to teach her how to read and write and soon they find themselves staying up late reading the only book she has, The Gravediggers Handbook.
But the thrill of reading books is quickly overshadowed by the ceremonial Nazi book burnings of any literature deemed unpatriotic to the Nazi government or of Jewish descent in any way. The public book burning takes an emotional toll on Liesel after she is peer pressured into throwing her one and only book into the flames. Later that night, she sneaks back to the burning pile of books and steals a book somewhat saved by the flames.

Then one night a mysterious figure named Max (Ben Schnetzer) shows up at the front doorstep of her families home. He turns out to be a Jew looking for the sanctity of their house and the fulfillment of a promise made by Hans many years ago. They agree to invite him in and hide him in their basement. Suddenly, Liesel has more important things to worry about than books, as the persecution of Jews becomes more rampant in their city and being caught hiding a fugitive in their home becomes an ever growing possibility.



REVIEW:

The Book Thief is a somber movie that actual deviates itself much from it's title and shows the toll that the war and Nazi government took on German citizens. This part of the movie is done at a surprisingly realistic and saddening approach that sets the movie apart. Unfortuantely, as realistic of an approach this is, it is still a major detour from what the preview and book title seems to hint.

Now I have not read the novel, "The Book Thief" by author Markus Zusak, and I can not accurately say how close the film followed it's novel predecessor but the title itself leads me to believe that the story centers around Liesel and her willingness to steal books to expand her knowledge and her ability to read. Yet we find Liesel stealing books only several times throughout the film with the story hardly ever revolving around these moments. The burning of books was played up to be such a horrendous moment for the country, and it was, only after the burning does the story begin to revolve around the hiding of the Jewish boy Max more than anything else.

Putting aside this major sway from the central plot, the film succeeds in almost every other area. I applauded the performances of Geoffrey Rush who plays the amusing and lighthearted Hans, and Emily Watson who sheds her English accent and any indication that she ever wears makeup to play the stern Rosa. They deliver rather outstanding performances that only develop more and more as the war gets closer to home. The films most outstanding performance comes from our main character Liesel played by the 13 year old Canadian Sophie Nelisse, who not only captures the characters appropriate reactions of her tumultuous experience in the war but does so in a convincing German accent. I have a feeling we will be seeing more and more of her on the big screen as time moves forward.

The look of the film is shot in a way that limits what is seen and known by the characters of the film. In the midst of a propaganda filled country, the war slowly creeps closer and closer at a steady pace until there is no hiding from it. In the midst of the war was one of the greatest atrocities ever committed; the mass genocide of the Jewish community in Europe. This too creeps up on our central characters until they find themselves hiding and protecting a Jew themselves. Director, Brian Percival and Cinematographer Florian Ballhaus are able to invoke so much angst in the unknown leaving the viewer to wonder just what type of fate might meet our main characters. Will they be caught by their Nazi counterparts, or will the pending war finally creep up on their society? Brian Percival also effectively communicates the film through the eyes of children, specifically the Nazi Youth and how life might have been for them. With only a few minor setbacks in direction specifically involving special effects and an all too staged truck explosion, the direction and cinematography comes through.

On a side note the entire film is narrated from the perspective of death and his interest in Liesel. After doing some research, I found that the book which the film is based upon, was also narrated from beyond the grave. Now this may have been an effective tool in the novel but is completely out of place in the movie. In staying true to the book I can understand putting in such narration but when death seems to pop up out of nowhere and the story being strong enough to support the plot without an explanation of what is happening, I felt this portion of the adaptation could have easily been left out. And don't even get me started on the ending of the movie. A quick homage to Liesel and her life after the events of the film indicates the trueness of the story, however is told as if we had connected to Liesel over her entire lifetime and not just the few years we are with her in the movie. Reluctantly, these are still minor details to take away from the film and ultimately the story winds itself to a memorable and unforgettable conclusion.

After the movie was over I could not help but ask myself how nerve racking and downright scary it must have been to have risked your life and those of your family for hiding an enemy of the state in the midst of a growing war. This is the main feel I took away from The Book Thief. Unfortunately this is a blatant divergent from the actual plot line that is originally presented in the beginning of the film. In doing so the film almost loses it's entire identity and shifts to an Anne Frank story narrated by death. If the film had been able to mix the two successfully it would have been considered in much Oscar talks, but will fall short of this. I'm sure most viewers will be able to look past that, given the type of material being presented in this movie, and that's okay. It is sill an excellent reminder of the horrors of war and the unimaginable atrocities that were committed against the Jewish community, which can never be forgotten.



OVERALL: (B-)

Directing (B-)
Brian Percival

Script (C-)
Michael Petroni

Acting (A-)
Geoffrey Rush, Emily Watson, Sophie Nelisse, Ben Schnetzer

Cinematography (B)
Florian Ballhaus

Set Design (B)



SCENE TO LOOK FOR:

A Nazi youth choir singing in unison a German song about the extermination of Jews. This scene was chilling, shocking, and in your face. More surprising is the fact that the voices singing the song are those of young children, naively reciting the words ignorant of the terrible meaning behind them. This is perfect example of how low the German society had sunk an how brainwashed the citizens had become during the reign of Hitler. Not only was the murder of innocent people allowed to be sung as if it's was a national anthem but it's voiced and propagated through the mouths of children. It does not get much worse than that.

SHOT TO LOOK FOR:

Liesel stumbles into a group of Jews being escorted from the city. As she runs through the crowd, the camera moves through the line of people, presumably being escorted to their deaths, with a ghost like quality. It's rather haunting as we see the somber faces of the persecuted being led away. Not a single person stands out as they all look the same. And it's here, where you can take a good moment and ponder the millions of lives, senselessly lost to the hatred and genocidal thinking of a monster.

Saving Mr. Banks (C)


SYNOPSIS:

"Supercalifragilisticexpialidocious," a word many know that very well might have never come to light had it not been for the charm of Walt Disney and his ability to persuade Pamela P. L. Travers, author of the beloved novel Mary Poppins, to approve such absurdity. Thus is the tale of Saving Mr. Banks, starring Emma Thompson as the fiery and feisty Pamela Travers or "Mrs. Travers" as she preferred and the iconic mouse man Walt Disney played by Tom Hanks. To fulfill a 20 year promise to his children and make Mary Poppins come alive on screen, Walt Disney invites Mrs. Travers to his animation studio in the efforts to gain the rights to her acclaimed book. Easier said than done, even for the motion picture mogul who automatically assumes he will win the rights from Mrs. Travers. However the story of Mary Poppins is rooted much deeper in her personal background and Disney's attempts hardly scratch the surface of persuasion. Unbeknown to him or anyone the story is derived from her childhood experiences and the relationship she had with her father Mr. Goff (Colin Farrell). As Disney continues to butt heads with Mrs. Travers, he slowly realizes that there may be more to the story than what meets the eye and that the original story of Mary Poppins may never be told.

REVIEW:

No, I will not use any goofy play on words such as, Saving Mr. Banks could have used some serious savings itself or the film never made it to the "bank." However this movie, deemed the next feel good movie from Disney, fell somewhat flat. Surprisingly so through it's acting, as it was casted with wonderful talent in Emma Thompson and the great Tom Hanks.

The stories main characters seemed one dimensional. Mrs. Travers never progresses past the grumpy and fiery cynic until the end when the script deems it so and she can become more of a light hearted character. Tom Hanks looks and acts the part of Walt Disney near flawlessly but once again never completes any type or character arc or change; unless you consider fulfilling a promise a character arc. Mr. Goff, played by Colin Farrell may very well have been the most thought out and well rounded character as a he portrays an ailing drunk of a father who is devoted to his daughter. How his character is involved in the story is something you must discover yourself, but gives the movie some limited yet much needed flavor. Saving Mr. Banks was directed by John Lee Hancock most noted for directing "The Blind Side," starring Sandra Bullock, in an Academy Award winning role. I would have expected more of a multi dimensional acting pull from a director noted for doing such that.

The screenplay, written by relative unknowns Kelly Marcel and Sue Smith, has a warm and heartfelt touch at the center of the story and intertwines two stories set past and present effectively. Yet without any real character development, I am thinking the blame may lie with the writers as well.

On a lighter and more literal note, expect much incorporation of the songs from the original Mary Poppins, which are performed rather enjoyably by the creative and boisterous Sherman brothers (Jason Schwartzman, B J Novak). Paul Giamatti also offers a lighter side to the movie as Mrs. Travers friendly chauffeur. And I'm sure if you have ever visited Disneyland in person, you may just recognize a few of the set locations used in the film.

Overall, Saving Mr. Banks makes for a sub par family movie that can be watched with just about anyone familiar with Mary Poppins or not. Although Saving Mr. Banks is in relation to the original movie, I would advise you to watch Marry Poppins first, not only to acquaint yourself with the story and references but to experience acting at a more memorable level.



OVERALL: (C)

Directing (C-)
John Lee Hancock

Script (B-) 

Kelly Marcel and Sue Smith 

Acting (C-)
Emma Thompson, Tom Hanks, Colin Farrell, Paul Giamatti, Jason Schwartzman, B J Novak

Cinematography (C)
John Schwartzman

Set Design (B)



SCENE TO LOOK FOR: 

EXT. GRASS AREA - DISNEY STUDIOS - BURBANK - DAY

Pamela picks a daisy, finds a stray twig and arranges them in the grass.

RALPH

Mrs?

Pamela looks up, her eyes red rimmed but she’s not crying.

RALPH (CONT’D)

I, uh, brought you a tea.

He hands her the tea in a takeaway cup.

PAMELA

It’s blasphemy to drink tea from a paper cup.

 In this scene, Ralph (Paul Giamatti) and Pam Travers (Emma Thompson) sit together below the shade of a tree in the middle of Disney Studio's. Ralph has come to offer her some comfort in the midst of her on going battle with Walt Disney and the rights to her book. Both sit and talk below a tree, with legs straight out, digging their hands into the grass and dirt like little children. This kiddish portrayal by the adult characters reminds us that at the heart of Disney films is the creative magic of Walt Disney, the ability to bring out the child in us, and to serve as a reminder of that wonderful and magical feeling we got when we saw our favorite Disney movie or visited Disneyland for the very first time.

SHOT TO LOOK FOR: 

EXT. BEVERLY HILLS HOTEL - POOL - DAY UNDERWATER

SPLOSH! A green bomb disturbs the tranquil surface and then another SPLOSH!

We rise through the water to see Pamela on her balcony throwing the pears, one by one, into the swimmer-free swimming pool. 

INT. BEVERLY HILLS HOTEL - SUITE - CONTINUOUS

PAMELA

 Good riddance. 

The pear falling in the water. This specific shot has no relevance to the feeling and motive behind the scene and could have easily been switched out for a more humorous shot of a pear falling on someone. However, there is nothing like a pear, piercing the surface of the water like a whizzing bullet, to invoke memories of "Saving Private Ryan" and it's famous beach scene.

Prisoners (B)

"Someone has to make him talk or they're gonna die!" are the desperate words uttered by Keller Dover (Hugh Jackman) in the new gritty abduction film Prisoners. He is referring to his young daughter Anna who has recently gone missing. His words are spoken in earnest to fellow friend and father Franklin Birch (Terrence Howard), whose daughter has also gone missing. Before the two men, sits a handcuffed man Alex Jones (Paul Dano), whom they believe is the predator who stole their daughters away from them. And with those words spoken, the movies moral rocket takes flight.

Prisoners is not so much a story about the abduction of two young girls as the abduction of our moral values when thrust into a similar circumstance. It begs the question, "what extremes would i go to for my child?" In doing so this is the first realistic approach the movie portrays, the parent factor. Parents portrayed in this film share the same sentiments of those in society, they would do anything for their children. And such is the case for Keller. 

Keller is a loving husband and father, who works to raise his family properly, doing anything for the ones he loves. Him and his family have been invited to their neighbors, the Birch's, for a Thanksgiving feast. Everything seems typical and in line. The adults sectioned off laughing and drinking to the new holiday season, teenagers hanging with one another, and the young kids running about making as much noise as possible. As neighbors, and being in such proximity to one another, it seems reasonable that the two young girls Anna and Joy could make a trip back to the Dover's residence to play for a little while. With the distance between the two homes what could possibly go wrong?

This a question most parents probably wrestle with. The struggle between guarding the safety of their child and the ability to let them grow up and do things on their own. And sure enough, as the evening draws to a close, the two girls are nowhere to be found. A casual turned frantic search by the parents reveal nothing. Keller Dovers eldest son Ralph (Dylan Minnette) remembers there had been an RV parked earlier on the side of the road near the house and now is gone. Just like the girls.

The emotional toll this takes on the two families is excruciating. Minutes turn into hours and hours slowly tick by as the week passes. The police become involved and the case is assigned to a goth looking investigator, Detective Loki (Jake Gyllenhaal). He quickly delves into what appears to be a cut and dry case against a mentally challenged gentleman by the name of Alex Jones whom is caught driving the suspected RV. Unfortuantely there is no trace whatsoever of the girls in the RV nor do the police have any evidence to pin on the suspect and he is promptly released. Needless to say this does not sit well with the parents, especially Keller, who becomes enraged and decides to take matters into his own hands. He subsequently abducts Alex in hopes that he can force him to tell where his daughter is. When Alex says nothing Keller decides to use a more brutal tactic of extracting information.

Here lies the second realistic approach the movie offers. As Keller lays a brutal torture upon Alex, we see not the acts of  revenge but pure desperation. Keller is willing to do anything to find his daughter even if it's at the cost of someone elses well being. Someone who may very well be innocent as mentioned by Joys father Franklin. As the brutal torture continues we begin to ask ourselves is this man really guilty? Are Keller's actions justified? Is the real suspect still at large?

Detective Loki believes so and decides to re open the investigation. But unlike Keller, he has a badge to back up his harsh actions against those who don't obey the law. And although he is a skilled investigator, he keeps coming up short for clues time and time again, throwing him into a depressed state and periodic temper flares. Regretably this is where the film lacks substance. Nowhere is there a reason, beyond occupation, that Detective Loki acts the way he does or what may be his motivations. We are given a subtle hint that he may have been a victim of abuse as a child, but the script never evolves this crucial part of the story.

Alas time begins to slip away and hope turns into mourning for the loss of the two young girls. And every character must individually come to terms that they may never see a resolve to the case.

Prisoners is an excellent, dark, well crafted film that will leave you questioning what you believe is right and just and how far you are willing to push your moral boundaries. Directed by Denis Villeneuve (Incendies) and written by Aaron Guzikowski (Contraband), Prisoners will have you hoping for the best and shaking your head at a few plot twists along the way. Hugh Jackman does a remarkable job as a desperate father who is pushed to his breaking point and the rest of the cast are able to hold their own. I encourage you to see this film with someone else if possible and to take in their reactions. Maybe they will quietly agree with Keller's side of things. Or perhaps not. Or maybe they will continue to wrestle with it, just like me.

Overall: B rating, Worth Seeing

Direction: A-
Script: C+
Acting: B-
Cinematography: B
Set Design: B