Hitchcockian thriller ‘Prisoners’ calls for multiple viewings

Jake Gyllenhaal and Hugh Jackman star in "Prisoners."

Jake Gyllenhaal and Hugh Jackman star in “Prisoners.”

Prisoners/2013/Warner Bros./153 min.

Tense and absorbing, “Prisoners” ranks as a solid three-star flick. When two 6-year-old girls go missing, one of the fathers – a carpenter and hunter named Keller Dover (Hugh Jackman) – quickly reveals himself to be a brutal vigilante, intent on beating information out of a mentally disabled man brought in for questioning and then released (Paul Dano).

Jake Gyllenhaal, as the obsessive cop assigned to the case, pursues another suspect and eventually Jackman chases yet another – all of the suspects, we learn, share a shattering connection. Terrence Howard, Viola Davis, Maria Bello and Melissa Leo round out the cast. Aaron Guzikowski wrote the screenplay.

Québec-born director Denis Villeneuve thoughtfully tells a complex, Hitchcockian tale and elicits memorable performances from the cast, especially from Gyllenhaal (perhaps his best work since “Zodiac.”)

On the downside, there are some rather drafty plot holes, the pacing is slightly off and, while Jackman is very watchable, the script’s characterization of Keller Dover proves more facile than fascinating. Still, it’s engrossing enough that you might feel like watching it twice to catch all the clues. And the ending is superb.

On the big screen: Style doc ‘Mademoiselle C’ and three neo-noir titles: ‘A Single Shot,’ ‘Prisoners, ‘The Family’

Mademoiselle CMademoiselle C/90 min.

In defense of full-on glamour, Joan Crawford once said, “If you want to see the girl next door, go next door.”

Fashion insider Carine Roitfeld, the subject of a new documentary called “Mademoiselle C,” echoes that view and takes it up a notch. Running French Vogue for 10 years, Roitfeld became known for her edgy “porno-chic” aesthetic.

After her Vogue gig ended, Roitfeld decided to launch her own mag in New York, CR Fashion Book, and the film chronicles this experience. Interestingly, unlike Crawford, Roitfeld has a tranquil home life, complete with adoring husband and two gorgeous, grown-up children.

Fashionistas will likely enjoy watching Roitfeld at work and seeing her rub elbows with celebs such as Tom Ford, Karl Lagerfeld and Diane Von Furstenberg. And Roitfeld exemplifies Parisian chic style, stateside. Director Fabien Constant’s touch is light and lively, though overall it feels quite superficial – a bit like browsing through Vogue, glancing at all the glossy pictures and skipping the stories.

“Mademoiselle C” opened Sept. 11 in New York and opens Sept. 20 in LA at Laemmle Music Hall in Beverly Hills.

A Single Shot posterA Single Shot/116 min.

John (Sam Rockwell) is backwoods/country guy trying to make ends meet and looking to patch things up with his estranged wife and son. It’s when he resorts to poaching that his troubles begin and he’s quickly caught in a noirish trap – there’s a big pile of cash, sleazy lowlifes aplenty and a dead body, natch.

Director David M. Rosenthal’s haunting visuals help create a moody atmosphere but the film is undercut by its draggy pace and characters who feel less than authentic, particularly John and his blasé reaction to his own pivotal act of violence. Matthew F. Jones wrote the novel and screenplay. William H. Macy, master of the unctuous interloper, wears a scary toupee and preposterous plaid to great effect. Opens Sept. 20 in New York and in LA at Laemmle’s NoHo 7 in North Hollywood.

Prisoners movie posterPrisoners/153 min.

“Prisoners” looks set to be one of the fall’s best offerings, especially with such a stellar cast: Hugh Jackman, Jake Gyllenhaal, Viola Davis, Melissa Leo, Maria Bello and Paul Dano. Québec-born Denis Villeneuve directs. Am seeing it this weekend and will come back soon to update. Opens Sept. 20.

The Family/111 min.

In case it’s not clear from the cloying ads and previews, “The Family,” should do everyone a favor and stay at home. Despite a strong cast (Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones) who manage to eke out good performances, the film is weighed down by a weak script and a story that is both illogical and predictable.

This is a crime comedy? Really? Sadly, it’s just not funny. Snazzy camerawork eventually became distracting as did the trying-too-hard-to-be-cool score. I expected more from director Luc Besson. Opened Sept. 13.