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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The 94 year old, who lived in Santa Fe, New Mexico, died last Thursday (20Jan11) after a long illness, according to Santa Fe Funeral Options, a local funeral home.
The news comes just a week after his TV colleague Picerni suffered a fatal heart attack at his home in Llano, California.
Gordon made his Broadway debut in 1937, playing several small roles in The Fireman's Flame. His other Broadway credits include Arsenic and Old Lace, Medea, Richard II, The Lark and Nowhere to Go But Up.
His television career kicked off in the 1940s, with guest appearances on several U.S. series, including I Spy, Have Gun - Will Travel, Gunsmoke, Perry Mason, Bonanza and Police Woman, among others.
In the late 1950s, he was the host of espionage docudrama Behind Closed Doors, and in the 1960s he enjoyed a recurring role on Peyton Place.
But Gordon will perhaps be best remembered for his role as mob boss Frank Nitti on classic 1960s U.S. TV series The Untouchables.
His feature film credits include Love Happy (1949), The Buccaneer (1958) and Tower of London (1962).
Information on Gordon's survivors was not made available as WENN went to press.
The character actor played Robert Stack's FBI agent sidekick, Lee Hobson, on the beloved 1960s TV series.
Picerni died on 12 January (11) after suffering a heart attack at his home in Llano, California.
He also starred in Vincent Price horror movie House of Wax, which was the first 3D movie produced by a major studio.
On TV, he also appeared in Gunsmoke, Kojak and Perry Mason.