This year feels like it belongs to Nicolas Cage if no one else. Cage began his year off with the Netflix docuseries, A History of Swear Words. When we did our episode on the series back in January our common complaint was the series didn’t feature enough of the talented actor. Only a month later the actor wouldn’t utter a word facing off against animatronics in Willy’s Wonderland. Think of a Five Nights at Freddy’s movie, but the giant humanoid monsters go up against the insane and brutal mannerisms of Cage. The film is a throwback to the days of b-movie horror that would often be direct to video. Hey, even if it didn’t see the lights of the big screen, never discount a movie just because of its budget. There are some true hidden gems there.

Perhaps Cage’s most profound performance of the year, and arguably his best performance in over a decade, would come this past summer in Pig. Cage plays a retired chef who becomes a recluse after the death of his wife, only to come back out after his pig is stolen. Imagine a more grounded, less brutal approach to the John Wick story from the first film, and that’s Pig. While this year has definitely given us a lot of different sides to the actor, his next project embraces the insanity that he’s come to be known for in the last several years. For fans of Mandy, Mom and Dad, and Arsenal comes Prisoners of the Ghostland.

Prisoners is a movie that finds Cage facing off against samurai, cowboys, and the man behind them - none other than Bill Moseley. The movie tells the story of an arrested bank robber (Cage) who gets pulled into going into the fabled “ghostland” in an effort to recover the niece (Sofia Boutella) of the town’s governor (Moseley). The film marks the English debut of famed Japanese director Sion Sono. Sono has been making films, both short and feature length, since 1984. What a debut from the accomplished director. Prisoners pulls from a multitude of inspiration to create something truly unique. Sono brings that influence from Japan with the aesthetic of the samurai warriors and geisha girls.

Sono pulls from the heart of our own cinematic influences as well, using influences that range from John Wayne, Clint Eastwood, and oddly enough, Mad Max as well to give the film a particular look and truly refreshing world. He even throws in a touch of creepy with his use of mannequins. It’s hard to put into words exactly how Sono uses them without spoiling the movie, but it’s haunting to say the least. Aesthetics aside, writers Aaron Hendry and Reza Sixo Safai weave a story that is paced well enough to balance compelling characters, a non-linear storyline, and insane action all within its 100 minute run time. That is perhaps the most impressive feat of the entire movie. 

Prisoners is haunted, just a bit. While the script is fascinating enough, it’s not without a few bumps along the way. For starters, because it’s drawing inspiration from other films like Mad Max and other dystopian, post-apocalyptic stories, it can be a bit predictable. Likewise, Prisoners feels like at times it is massively underusing some of its characters. It feels like it’s chasing the high of absurdity more than actually telling a cohesive story. As I previously mentioned, the script’s use of non-linear time is both jarring and impressive. In some respects, it’s hard to tell how the events of the film are actually coherent enough to line up on a timeline. While that’s not necessarily needed, there is a singular point in the film that throws off the rest of the movie’s timelines. 

Its use of non-linear storytelling does a marvelous job of humanizing Cage’s characters, and subsequently helps the audience hate the Moseley character. His entire rise to power is an incredible thing to behold. Perhaps the most frustrating thing about Prisoners is its tonal shifts. There are scenes with both Moseley and Cage at various times as offenders where campy overpowers seriousness in the scene. It’s subtle enough that it can be overlooked for a one time offense. However, when it begins getting into the second and third times, it becomes painfully obvious. It feels like the majority of Moseley’s performance in this suffers at the hands of this inconsistency. Yes, he’s a good villain but he feels like he’s playing in another movie separate from the rest of his co-stars.

Cage on the other hand uses it to his advantage. His signature mannerisms are largely absent for the majority of this movie. They do go hand in hand with the spectacular climax of this movie. The movie is made better for Cage’s subtle approach to the material and his bizarre backstory. Cage is the highlight of Prisoners without a doubt. Equally as impressive is the film’s use of imagery in both the creepy and cultural sense. This film blends genres and cultures together really well, resulting in Prisoners being a truly one of a kind movie.

Overall, Prisoners of the Ghostland has some bumps along the way, but arrives to deliver another solid performance from Nicolas Cage. The movie’s aesthetic is both blessed and cursed as it blends genres together well but fails to keep a consistent tone. The movie can be messy at times with its performances and sense of time. Bill Moseley unfortunately falls as the biggest victim to this, proving himself to be a good antagonist but a campy actor in the process. Prisoners of the Ghostland is a blast and is definitely a cult classic in the making.

Rorschach Rating:

Mental Health Moment: Although I didn’t discuss the performance of Sofia Boutella, her arc is actually what is going to provide the mental health moment. For nearly two thirds of the film, Boutella doesn’t usher a word. When she and Cage meet for the first time, someone in the ghostland actually says “the ghostland has taken everything from her.” She remains silent as a result. She’s actually hiding from Cage, almost to tell the audience that she doesn’t want to leave. Perhaps, you could even say she’s comfortable with it.

In the same way, that’s often how we find ourselves with depression, feeling as though it has taken everything from us. It can result in silence and shyness. But what is arguably the most terrifying thing about depression is how comforting it can feel. When we fail to talk about how we’re feeling, depression can become a home, a shelter, or worse: a lifestyle. Don’t let depression take everything from you. As Boutella learns throughout the film, it’s okay to speak out and fight back. It’s ultimately how we win.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Prisoners of the Ghostlands is property of RLJE Films. We do not own nor claim any rights.

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