Papillon

Based on true events, Papillon follows Charlie Hunnam’s title character as he’s sent to prison on a remote island and immediately begins concocting an escape plan – with the narrative detailing Papillon’s continuing endeavors and his newfound friendship with fellow inmate Louis Dega (Rami Malek). Director Michael Noer does an effective job of initially establishing the time and place in which Papillon transpires, with the decidedly familiar bent of the movie’s storyline, at the outset, allayed by the inherently fascinating subject matter and effectiveness of Hunnam’s central performance. And while Noer has peppered the narrative with several standout sequences (eg a fairly exciting shower fight), Papillon segues into a padded-out and leisurely-paced midsection that slowly-but-surely begins to test the viewer’s patience – with the movie’s already-tenuous momentum eventually obliterated by a long interlude detailing the protagonist’s solitary confinement. It’s a striking stretch that’s nevertheless unable to wholeheartedly justify its extreme length, and there’s little doubt that the movie, beyond that point, suffers from a plodding feel that grows increasingly oppressive as time progresses (ie virtually everything here feels needlessly drawn out, ultimately). The plot’s impressively grim bent ensures that Papillon‘s second half generally remains watchable, at the very least, although it’s ultimately rather apparent that the movie could’ve benefited from a more judicious round of editing – which is a shame, certainly, given the obvious care (and authenticity) with which much of the proceedings have been infused.

** out of ****