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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They may have been real people centuries ago, but thanks to the mythical recounting of history through novels, movies, TV shows and even shoddy high school text books. the Presidents of yesteryears are closer to tall tale characters than historical figures. Which may be the reason we're seeing Hollywood twist America's greatest government icons into blockbuster fodder. Sure, Abraham Lincoln helped the country survive the Civil War, abolish slavery and prepare for the Reconstruction, but after this summer, we'll finally have a new chapter to add to his legacy: vampire hunting!
Whether audiences will accept Honest Abe's foray into supernatural sucker slaying is unknown, but four score and seven years won't pass before another President gets the fictional thriller treatment,. Keeping the new trend alive Darren Aronofsky will reportedly bring George Washington to the big screen in The General — but not as a straightforward, historical biopic. Rather, the script, by Accepted and Tower Heist writers Adam Cooper and Bill Collage, is in the vein of Clint Eastwood's Unforgiven. A Washington Western? He may be chopping down more than cherry trees in Aronofsky's version.
The Black Swan director has a ton of other projects on his plate, including the recently announced Noah, starring Russell Crowe, and a long-gestating Jackie Kennedy drama. But according to the report, The General is high on Aronofsky's to do list.
Alternative fiction isn't anything new, but rarely does it make its way to mainstream movies. Will the support of an A-list director like Aronofsky kick off a new wave of imitators? The possibilities are endless. A raunchy Martin Van Buren comedy? A William Taft/Fight Club hybrid? Benjamin Harrison vs. Aliens? A James K. Polk musical scored by They Might Be Giants? Anything goes when the floodgates open.
Before Aronofsky gets to The General, he'll be playing God in Noah, which hits theaters March 28, 2014.
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A fresh update on the Pocahontas legend. Captain John Smith (Colin Farrell) arrives in disgrace on the shores of the New World but he is pardoned and soon rises to lead the English settlers of what will eventually be Jamestown Virginia. Sent to trade with a local chief Powhatan he falls in love with his daughter Pocahontas (Q'Orianka Kilcher). He follows his duty rather than his heart and returns to Jamestown whose starving citizens would not have survived the harsh winter without Pocahontas’s help. Powhatan (Wes Studi) mounts an attack to force the settlers to leave but Pocahontas warns Smith leading to her banishment and her new life with the Europeans. Eventually Smith is called away to mount his own expeditions leaving Pocahontas behind with a heavy heart. She finds a new suitor a gentleman farmer who wants to marry her but she still pines for Smith. Her fame spreads far beyond the New World back to England where she is summoned to meet the king and queen. Farrell is finally delivering on his early promise momentarily setting aside noisy action films to work with a world-class director and reminding us just how subtle of an actor he can be. The amazing chemistry between Farrell and newcomer Kilcher puts nearly every other movie pairing this year to shame. Kilcher who had one screen credit to her name before this was only 14 during filming quite close to Pocahontas’ believed age of 12 or 13. Before you reach for that picket sign please note that while the romance is incredibly sensual as is the whole film nothing is shown other than longing looks and playful platonic embraces. As Pocahontas Kilcher radiates beauty and innocence and it’s easy to see why John Smith would be mesmerized by her. After Smith has left her scenes of grief are heartfelt and her later solemnity is remarkable for someone so young. I had no idea of her real age until I looked over the production notes. Christian Bale who only shows up in the last third of the film is wonderfully restrained and melancholy as the widower who woos her after her own loss. Terrence Malick has always been a very sensual director one who can capture nature so well that you feel you are in the film not just watching it. But his previous films such as The Thin Red Line often have a way of losing focus of missing the forest for the trees of throwing out the plot for yet another beautiful but pointless shot of the landscape. Here his narrative is strong enough that we aren’t impatient when the camera lingers on lush forests or a lovers’ embrace. He’s made the love triangle the backbone of the film and you don’t miss the larger picture here at all. The film is not only achingly beautiful but deeply felt. His sympathies are clearly with the “naturals ” as the Europeans call the Native Americans; it’s from their perspective that we first see the tall ships arrive. The Englishmen part from Smith for the most part are dirty cruel and petty and the less time the film spends with them the better. What Malick has made is most definitely still an art film with occasionally abstract or non-linear editing choices but one that is never just art for art’s sake.