Nicolas Cage goes all out Nicolas Cage in Prisoners of the Ghostland
Here’s the real kicker, though: To make sure Hero gets enough incentive, the General decked her out in a leather suit designed to self-destruct if he doesn’t return with her in five days. To make matters worse, he must travel to Ghostland, a irradiated wasteland populated by half-crazed outcasts. Oh, and his testicles are linked to explosives too.
Prisoners of Ghost Country is at his best when Cage is freed from the leash to rampage across the screen as a reluctant hero. It’s a film brimming with ideas, although not entirely original, littered with striking visuals and excellent action sets.
Cage has goofy eyes and action-ready throughout, dominating every scene he’s in, but Boutella also deserves credit for his suitably overpowered on-screen film. Moseley, as the movie’s big bad, does a good job, though he’s almost overshadowed by Nick Cassavetes in villainous form as Hero’s former criminal partner, Psycho.
Prisoners of Ghost Country makes no effort when it comes to delivering bloody and sometimes mind-blowing action, but the story definitely drags a bit once Hero establishes himself in the world of Ghostland, but luckily things pick up soon. as the film enters its final act.
Sion Sono made a name for himself in Japan as a filmmaker famous for his subversive work and many of them are on display here. Sadly, there are almost too many, with a movie so full of ideas, some often get lost in the rework.
A subplot involving Tak Sakaguchi’s Yasujiro, who serves as the general’s reluctant samurai bodyguard and keeps his sister captive, feels worthy of his own movie and forms the basis for one of the film’s best fight scenes. . However, it ends up feeling almost redundant for the main plot.