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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Contagion a sharp thriller from writer/director/cinematographer/editor/do-all Steven Soderbergh (Ocean’s 11 The Informant!) is like an adaptation of a Michael Crichton novel that never was. The movie quickly sets up its pawns in order to engage you in a game of pandemic chess where the terror comes from science and the humanity comes from your own empathy. Instead of relying on a sci-fi backstory outlandish deaths or large-scale set pieces Soderbergh lets the facts do the talking—and it's scary as hell.
Much like his Oscar-winning film Traffic Soderbergh unfolds the story by weaving in and out between a series of character perspectives: Matt Damon's Mitch who loses his wife to a mysterious virus and strives to protect the rest of his family; Laurence Fishburne and Jennifer Ehle members of the Center for Disease Control racing against the clock to find a cure; Kate Winslet's Erin a field agent tracking down the source of the American outbreak; Jude Law's Alan a high-profile blogger searching for the truth behind the disease; and Marion Cotillard's Dr. Orantes another agent hunting for Patient Zero in Hong Kong. While the drama spans globally each characters' quarrels are playing out in a claustrophobic scenario a world in which any person they meet any object they touch can infect them with the life-threatening disease.
Soderbergh doesn't have much time to dive into his characters' backstories but the film's screenwriter Scott Z. Burns carefully constructs each scene to deliver just the right balance of terrifying scientific babble and revealing personal drama. When the virus starts massacring the world population and vandalism riots and societal unrest emerge the thing that makes Contagion click is our interest in the personal stories. Damon as seems to be the case with everything he touches elevates the material being the perfect everyman and our surrogate for the too-plausible-for-comfort scenario. Fishburne too turns what's normally a plot-forwarding government agent role into a man dealing with the weight of his decisions watching citizens of the country drop like flies from his ivory tower. It's heavy stuff but Burns' playful dialogue helps the cast lighten the harrowing mood—only so the movie can pull the carpet from underneath you over and over again.
But in the end Contagion is Soderbergh's show. The director uses every ounce of cinematic artistry to leave us squirming in our seats with a fetishistic approach to shooting the most mundane of objects. The close-up is Soderbergh's weapon of choice honing in on common day objects that we realize are infested with germs (with the effect amplified by a thousand if you catch the movie in IMAX). A door handle a bathroom drier button the human face—Soderbergh lingers as a reminder of his invisible villain: the virus. That's a compliment: the design and photography is striking the purposefully pristine picture quality fills the characters' quest to stay healthy with tension. Composer Cliff Martinez's electronic score compliments the icky scenario germinating over the picture like audible infection. The world of the film is rich with detail. Just the icky kind.
Contagion isn't flawless. With so much going on things fall to the wayside—Cotillard's plotline specifically gets lost in the shuffle—but the reality keeps us engrossed. The movie plays like an oral history of a horrific event with each detail frighteningly exposed. Except in the case of Contagion it's not an event that has happened so much as one that could happen.
And at any moment.
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.
September 17, 2004 12:54pm EST
Roy Horn publicly describes attack for the first time
Roy Horn, one-half of the illusionist duo Siegfried & Roy, described for the first time his memories of being mauled by a tiger in an interview with Maria Shriver that aired Wednesday on the NBC special, Siegfried & Roy: The Miracle. Asked by Shriver what he was thinking at the time, Horn answered: "Dear God, let this be just a bad nightmare." Horn also told Shriver he remembers having a near-death experience on the operating table. "I saw a bank of white light, and then I saw all my beloved animals ... For a moment I stepped out of my body," said Horn, who now uses a motorized wheelchair. The magician was attacked by a 380-pound tiger named Montecore during a live performance at The Mirage hotel-casino in Las Vegas. The 7-year-old tiger bit into Horn's neck and dragged him off stage--until a show employee broke the animal's grip using a fire extinguisher.
Walters exits 20/20
Barbara Walters is giving up her role as co-host of the ABC newsmagazine show 20/20 after 25 years--and 740 interviews. Walters, 72, became a fixture on 20/20 in 1979 when she joined forces with then-host Hugh Downs. She has since interviewed the famous and infamous, including Richard Nixon, Michael Jackson, Erik and Lyle Menendez, Margaret Thatcher, Moammar Gadhafi, Monica Lewinsky, Bing Crosby, Robin Givens and Mike Tyson, Elton John and Ronald Reagan. But the veteran anchor says she is not retiring. "I'll be doing specials that I can pick and choose. I might even do an interview for 20/20 from time to time," Walters tells The Associated Press. "But in terms of anchoring 20/20--I'm done." Elizabeth Vargas will step in to replace her at the anchor desk next to John Stossel. On Friday, Walters will host a two-hour retrospective of many of her past interviews with 20/20. Then on Sept. 24, ABC will air Walters' last interview, a conversation with Mary Kay Letourneau, the former sixth-grade schoolteacher who went to prison for having sex with a student.
Johnny Ramone dies at 55
Ramones' guitarist Johnny Ramone died today following a five-year battle with prostate cancer, Reuters reports. He was 55. According to the group's Web site, Ramone died in his sleep at 3:03 p.m. at his Los Angeles home, surrounded by his wife, Linda Cummings, relatives and friends. Ramone, whose was born John Cummings, performed with the Rock and Roll Hall of Fame punk band from its initial concert at New York City's Performance Studio March 30, 1974 to its 2,263rd and final show at the Lollapalooza festival at the Irvine Meadows Amphitheater Aug. 6, 1996. Ramone is survived by his wife and his mother. His body will be cremated during a private ceremony.
Zeta-Jones' stalker to stand trial
Superior Court Judge Patricia M. Schnegg yesterday ordered a woman accused of stalking actress Catherine Zeta-Jones to stand trial, the AP reports. Dawnette Knight, 33, was arrested June 3 at her Beverly Hills, Calif., home and pleaded not guilty to one account of stalking and 24 counts of making criminal threats. The judge ordered Knight held on $1 million bail and to return to court Sept. 27 for arraignment. The charges involve more than 24 letters sent to Zeta-Jones's husband, actor Michael Douglas. In one letter, Knight said: "We are going to slice her up like meat on a bone and feed her to the dogs." In another letter, she allegedly apologized, claiming she had been in love with Douglas. Dwight's case had been halted July 30 pending a psychiatric evaluation after she suffered from an overdose of barbiturates, but a judge found her mentally competent to stand trial.
Madonna goes to Israel for spiritual guidance
Following her concert tour Re-Invention, Madonna (or should we say Esther, her given Hebrew name) is heading to Israel for a little spiritual cleansing, Reuters reports. The pop diva, whose itinerary was kept under wraps for security reasons, arrived at a luxury hotel in Tel Aviv late Wednesday to join about 2,000 fellow Kabbalists from the Los Angeles-based Kabbalah Center to celebrate the start of the Jewish New Year. The Catholic-bred singer's interest in the religion has raised some controversy among some ultra-Orthodox Jews who are afraid the growing popularity of the movement among non-Jews is nothing more than a trend that demeans their religious beliefs. But Madonna has said she takes the belief in Jewish mysticism very seriously and is irritated by accusations. Madonna's schedule was to also include a visit to graves of Jewish sages in northern Israel as well as shrines such as the flashpoint Rachel's Tomb on the edge of Bethlehem, traditional burial place of the biblical matriarch Rachel, Reuters reports.
Bobby Brown heads to Bravo
Cable network Bravo has ordered 10 one-hour episodes of Being Bobby Brown, a reality series about the troubled singer. The show, set to debut in the second quarter of next year, will chronicle the R&B singer's efforts to clean up his life after his numerous run-ins with the law. Brown's wife Whitney Houston will appear, as well as his children from their marriage and previous relationships. "Being Bobby Brown will allow the public to see Brown outside the context of a pop icon and bad boy, rather, they'll witness an artist striving to clean up his life for his future and the future of his family," Bravo president Lauren Zalaznick said.
John Lennon musical in the works
Lennon, a musical about the former Beatle John Lennon's life, is set to open on Broadway next summer, in time for the 25th anniversary of his murder at the hands of a crazed fan, Variety reports. The project will include such post-Beatle songs as "Imagine," "Instant Karma," "Give Peace a Chance," "(Just Like) Starting Over" and "Whatever Gets You Through the Night." The play was written and will be directed by TV veteran Don Scardino. No cast is set as yet.
Kennedy Center honors John, Beatty
Elton John and Warren Beatty will be among six entertainers to receive the annual Kennedy Center honors this year, the center told Reuters on Wednesday. The other recipients will be the husband-and-wife team of actors and producers Ossie Davis and Ruby Dee, soprano Joan Sutherland, and composer and conductor John Williams. The 2004 honorees will be feted at a gala performance in the Kennedy Center's Opera House on Dec. 5.
Kit Bowen contributed to this report.