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.
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
Follow @Michael Arbeiter
| Follow @Hollywood_com
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
When infamous outlaw Ben Wade (Russell Crowe) gets captured in late 19th century Arizona the plan is to transport him to a train en route to Yuma prison(leaving at 3:10 of course). But in the 1800s bringing someone to justice is as arduous as it sounds especially since horses are the only mode of transportation and their carriages the only place to house a prisoner. Across “town ” rancher Dan Evans (Christian Bale) is struggling mightily to support his wife (Gretchen Mol) and kids (Logan Lerman and Benjamin Petry) following a drought and needs to build a well for his family. So when he receives a nominal financial offer to help transport the notorious felon he jumps at it dutifully and desperately. While on the trail that leads to the train station no amount of physical or verbal threat is too much for Wade to break free of with ease. But when it comes to the law-abiding rancher for whom Wade has a certain respect his escape becomes much more complicated than getting out of handcuffs. 3:10 to Yuma’s pairing of Batman and Cinderella Man is perfect in concept and execution and watching the two stars is more than a sight to behold—it is transfixing like watching any two longtime professionals make something difficult look easy. It’s the first of two such powerhouse pairings for Crowe this fall—he co-stars with Denzel Washington in November’s American Gangster—and if this small sample size is any indication big-name costars bring out the best in him. Crowe evokes the kind of real humanistic villain that could only exist in a Western and by playing Wade with equal parts amiability and evil the Oscar winner turns in what is probably his most purely charismatic performance to date. Bale’s character on the other hand—and per usual—is loath to crack a smile a quality the actor has mastered. The Yoda of dialect Welsh-born Bale also has no difficulty switching over to Ol’ West speak but it’s the way he conveys the rancher’s stoicism and will that makes him even more credible. Among the supporting turns Ben Foster (Alpha Dog) stands out as a cranked-up trigger-happy member of Wade’s gang and stalwart Peter Fonda is perfectly cast as a tough ‘n’ gruff bounty hunter. When director James Mangold turned Johnny Cash’s life story into Walk the Line it was the romantic version of a much darker tale. For 3:10 to Yuma a remake of the beloved 1957 Glenn Ford-starrer Mangold gives the Western the same treatment. In attempting to reel in today’s action-happy audience Mangold waters down the drama and speeds up the pace. Minor tweaks for this modern update equal a bit of a departure from true Western style with the dialogue for example as snappy as one of today’s action comedies. But it’s all in good fun. The Old West looks completely authentic and the unforgettable ending is perhaps made possible by the director’s innocuous first two acts. Even so his efforts and those of the screenwriters (Derek Haas Michael Brandt and Halstead Wells who wrote the original) aren’t enough to perform CPR on the Western—not that it’s fair to rest the fate of entire dying genre in their hands.