The Facts:
Synopsis: A notorious criminal must break an evil curse in order to rescue an abducted girl who has mysteriously disappeared.
Stars: Nicolas Cage, Sofia Boutella, Bill Moseley, Nick Cassavetes, Yuzuka Nakaya, Lorena Kotô, Canon Nawata, Charles Glover, Cici Zhou, Louis Kurihara
Director: Sion Sono
Rated: NR
Running Length: 103 minutes
TMMM Score: (6.5/10)
Review: Here’s what we all need to realize about Nicolas Cage – he knows exactly what he’s doing. Anytime a GIF or a meme is passed around with one of Cage’s signature crazy eye looks or classic freak out faces, it’s the result of a carefully calculated plan on the part of the actor to dig into whatever character he’s playing. It gives the director something to work with, something to drive his fellow actors crazy, and it makes audiences nervously anticipate his next move/movie because you truly don’t know how he’ll pivot.
Once a mainstay on the Hollywood A-List, after Cage won his Oscar in 1995 he toiled about in various blockbusters until his star waned after one too many fails at the box office. That’s when Cage started thinking in volume, not quality, and the sheer number of films he was in rose dramatically. While lazy actors like Bruce Willis have taken over the mantle of this business model, Cage was king of making these random films that were almost indistinguishable from one another. I’m not sure exactly when or how it happened, but I noticed Cage began to stretch again in 2018 with the release of Mandy, a well-received horror film that was often a nightmare to watch which genre fans went ape over. Coming back a year later with Color Out of Space, an even more impressive blend of Cage-iness mixed with a trippy H.P. Lovecraft vibe, it was obvious the actor was finding his groove with projects and directors that spoke to him.
Continuing to star in the occasional quickie, Cage set the film community ablaze already twice this year with two different projects, the bizarre Willy’s Wonderland and one of his best performances to date, Pig. Now, I’m still willing to work for Cage’s team to help them mount a campaign for him to get in the Best Actor race for his work in that excellent film but I’m thinking he won’t need much help getting there on his own. The end of the year may be getting crowded but what he did with that film is still so fresh in my mind that I can imagine voters that saw it will be feeling the same way. Perhaps it’s best to keep certain voters away from Cage’s latest movie, though. It might undo some of that goodwill Pig served up.
Let me state for the record before we gain entry to Prisoners of the Ghostland that I found the first English-language film from director Sion Sono to be almost operatic in nature and often just as frustrating to sit through. It has moments that are wildly creative, sucking you into its energy field with an enticing mythology and fringe characters that have you craning your neck to see more. On the other hand, Sono displays his typical taste for excess and winds up almost choking the life out of the picture before anyone has a chance to get much of anything done. The extreme director is a good match for Cage, and both know it, so it’s just a question of who wants to go bigger before going home.
Set in a world undone by a nuclear catastrophe where scattered cultures have created a mishmash of design and community, Prisoners of the Ghostland drops us into Samurai Town, a brothel run by the smarmy Governor (Bill Moseley, Texas Chainsaw) who has lost something near and dear to him. His adopted granddaughter Bernice (Sofia Boutella, Climax) has vanished, and the Governor needs a professional to travel to the dangerous Ghostland to find her. The man for the job is, naturally, named Hero (Cage, Valley Girl) and to incentivize him to keep his cool in all matters he’s wired with explosives at particular points of his body. Think about hitting a woman? Bye-bye arm. The bombs on his nether regions are self-explanatory…there will be no unauthorized breeding in Ghostland. Fail to find her, and that bomb around his neck will efficiently end his life.
With only a few short days to find Bernice and bring her back, he’ll have to work fast because while finding Bernice turns out to be easy, returning her isn’t a walk in the park. As Hero learns more about the horrific conditions in Ghostland and its inhabitants, he plans a revenge plot to secure his freedom and the liberty of others. Yet a memory from the past still plagues him, a memory that turns out to have a major impact on his current mission, throwing a significant wrench in the outcome of the plot to overthrow the powerful Governor and those that follow him.
The screenplay from Aaron Hendry & Reza Sixo Safai is surprisingly original and not based off any previous work and both writers have given the dynamics of Ghostland some intriguing wrinkles. In Sono’s visionary hand, the world creation is complete and so you have something that is marvelous to look at, if just a tad vacant overall. It’s like those walls of a community theater production that look so impressive from the 12th row but once you get up close you see that it’s just a two-inch flimsy piece of painted plywood…but for a while, you were fooled. This ruse is helped along by, no surprise here, Cage’s fully immersed performance that never comprises or belies any doubt in the material. That’s the special sauce which keeps Cage operating so reliably at 120% from film to film. Like him or loathe him, he believes in what he’s doing and that in turn creates an atmosphere where everything is possible, and anything can happen.
In previous films, not everyone has been as game as Cage but Sono has surrounded his star with a roster of like-minded actors that go for broke and don’t care who’s watching. Boutella is, in many ways, an actress after Cage’s heart that’s more than willing to go toe-to-toe for control of scenes. Lithe in body and able to tap into relatable and raw emotions, she’s an interesting counterpart to Cage’s deep well of regret…both are individuals in pain that need saving and perhaps this journey will wind up benefitting both. Moseley and a scary Nick Cassavetes (The Other Woman) as Cage’s former partner now mysterious rival, pop off the screen with appropriate villainy but watch out for Tak Sakaguchi silently stealing the movie as a cunning assassin who gets some ferociously fun fight sequences. While the film is filled with several memorable performances for the right reasons, there’s a central character that’s so atrociously annoying it begins to cast the rest of the actors in a bad light. I’m going to refrain from passing that name along but once you see the movie, you’ll know who she is.
Along with Mandy and Color of Space, Prisoner of the Ghostland feels like it’s completing a trilogy of interesting reaches by Cage into foreign territory. Not only are they gambles that have by and large paid off for him creatively, but critically and commercially they’ve done well for his credibility…far more than his direct to video feed-trough junk he had been making. Couple that with a quieter and more reflective role in Pig and you begin to see an actor coming into another stage of their career where box office isn’t key, but fulfillment of mind, body, and soul is. Lucky for us, that desire also comes with an entertainment value as well.
