After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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Alex Hughes (Alan Rickman) is an emotionally closed-off British ex-con who heads to Canada to visit an old lover. When he misjudges the distances between Ontario and Winnipeg he rents a car and starts driving across the snowy winter landscape. He encounters a charming young woman named Vivienne Freeman (Emily Hampshire) who hitches a ride and begins to thaw out his frozen heart but then tragedy strikes as the pair has a terrible car accident and Vivienne is killed. Alex is left with terrible guilt and so drives to the little town of Wawa to offer condolences to Vivienne’s mother Linda (Sigourney Weaver). Surprisingly Alex discovers that Linda is a high-functioning autistic and as he agrees to help her plan the funeral an unlikely friendship develops. Meanwhile Alex also meets Maggie (Carrie-Anne Moss) Linda’s beautiful next-door neighbor; his relationships with those two very different women change him very unexpected ways. Forget Ripley from the Alien flicks! With Snow Cake Sigourney Weaver gives the performance of her life. She transforms completely into Linda Freeman a middle-aged woman whose life is framed – but not controlled – by her autism. From her slightly twitchy movements to the far-off look in her eyes Weaver masterfully captures the physical elements of the disorder; add in the completely believable dialogue that reveals Linda’s inner emotional state and the portrayal is one that just might bring Weaver an Academy Award for her work. Alan Rickman is equally affecting as a man whose personal anguish threatens to shut him down completely; his emotional reawakening is so real that we can’t help but empathize and root for him. Carrie-Anne Moss is quietly effective as the sexually restless neighbor and Emily Hampshire is a beam of sunshine in her short time on the screen as Linda’s daughter a real face to watch for the future. Welsh director Mark Evans cut his teeth on British television and small films like Trauma. With Snow Cake he proves that he’s got a talent for telling emotional stories without descending into sentimentality. That’s a fine line and one that makes this film sit head and shoulders above those Lifetime channel flicks that send a chill up the spine of every red-blooded male (and many of us females too). First-time screenwriter Angela Pell should get massive credit as well. She tapped into her personal experience as the parent of an autistic boy translating that knowledge into creating a portrait of a grown woman (and mother of a normal daughter) who has successfully made her way through life despite her disability. The potent combination of those two talents united with across-the-board fine acting make Snow Cake a supremely satisfying cinematic experience. Watch for this one during awards season later this year.