CANNES -- It's hard to know where to start when analyzing what went wrong with a film as preposterous and phony as Atom Egoyan's "The Captive," a kidnapping drama that kicked off the first Friday of this year's Cannes Film Festival.
Egoyan is a frustrating filmmaker these days. In the early part of his career, his work was distinguished by a chilly, clinical style and a fascination with perspective. "Next Of Kin," "Family Viewing," and "Speaking Parts" all displayed enormous promise, and he hit his stride with films like "Exotica" and "The Sweet Hereafter." Lately, though, his films feel half-baked, increasingly distanced from any recognizable human behavior, and with "Devil's Knot," his dramatic take on the story of the West Memphis Three, it felt to me like he'd gone completely off the rails as a storyteller. I couldn't even figure out what point he thought he was making with the material that had already been so thoroughly (and expertly) mined by documentarians.