Prisoners of the Ghostland

What's most missing in all this mayhem, though, is the vision of an auteur actively engaged with the meaning of the euphorically gonzo tableaux he's staging.

Utterly barmy.

Prisoners of the Ghostland isn't campy enough to be camp.

No movie with Nicolas Cage, directed by the wonderfully weird Japanese director Sion Sono, should be this taxing, drawn out, and plainly boring.

Sono may indulge in madness, but it's not madness without reason.

Prisoners OfTheGhostland is by turns brilliant andrubbish.Cage is in his element, it has visual invention to spare, and the fight scenes are fun,but it's a shame such imagination is tethered toequallyall-over-the-place storytelling.

Prisoners of the Ghostland lacks any excitement and catharsis that made Sono the filmmaker he is today.

A world of total anarchy where samurais, cowboys, nuclear explosions, modern cars, and more collide to surround an otherwise simple narrative with nonsensically hilarious storylines and awesome action sequences.

If you thought Mandy, Color Out of Space, Willy’s Wonderland or Pig offered up Nicolas Cage at maximum unhingedness, wait until you get a load of Sion Sono’s “delirious mash-up of Western, samurai movie and post-apocalyptic thriller”.

Prisoners Of The Ghostland doesn’t quite deliver on its outlandish premise but Cage does enough to merit it getting a release due to good behaviour.