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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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
Based on books by Besson (yes he writes books too) we meet Arthur (Freddie Highmore) a 10-year-old kid living on his grandparents’ farm. But there’s trouble: Arthur’s grandfather has mysteriously disappeared and now a real estate developer wants the land Arthur’s grandma (Mia Farrow) doesn’t have enough money to keep. Maybe the solution lies in his grandpa's treasure which is hidden somewhere on the "other side" in the land of the Minimoys. Who are the Minimoys you ask? Why they are creatures that live in Arthur’s backyard just a tenth of an inch tall--that’s who. The only hope is for Arthur to enter into this miniature world become a little pointy-earred wild-haired Minimoy find the treasure in the forbidden city and save the day. For this adventurous boy that’s no problem. Arthur and the Invisibles doesn’t lack star power that’s for sure. Along with sweet-faced high-spirited Highmore (taking a step down from Finding Neverland and Charlie and the Chocolate Factory in my opinion) and Farrow (who looks a little Minimoy-ish herself) we have the voices of: Madonna as the plucky Minimoy warrior princess; Jimmy Fallon as her younger klutzy brother; Robert De Niro as their father the king; Harvey Keitel as a kindly wizard; Snoop Dogg as a weird-looking miniature denizen who runs a dance club; and David Bowie as the evil ruler of the forbidden city. That’s some eclectic lineup--too bad they couldn’t all click. Poor Madonna--even her animated voice-over efforts can’t make the grade. We all know how creative French filmmaker Luc Besson can be. His offbeat sensibilities can be seen in his tense crime dramas La Femme Nikita and The Professional as well as his wildly imaginative sci-fi cult favorite The Fifth Element. But he’s been taking a break from making his own films producing and apparently writing children’s books instead. Arthur and the Invisibles is his first directorial effort since the 1999 movie The Messenger: The Story of Joan of Arc and while it definitely taps into Besson’s fanciful notions--which is probably even more evident in the novels--it doesn’t necessarily translate as well to the big screen. Invisibles’ animation is lush and there’s a lot to look at but it’s almost too busy while the tepid yet convoluted story drones on. Invisibles is definitely not adult-friendly.
The film follows the same tired action genre step by step. Ex-con and single dad O2 (Tyrese Gibson) is trying to go straight for the sake of his young son Junior. But when the kid is kidnapped in what seems to be a typical carjacking O2 has to pull out all the stops to get him back. Turns out O2 had some nefarious dealings with a gang overlord named Big Meat (The Game) who likes to hack off people’s body parts with a machete. And now Meat wants some payback taking for ransom the only thing O2 cares about in the entire world [sniffle]. So what’s a guy to do? Pit rival gang leaders against each other hook up with a beautiful street hustler (Meagan Good) rob safety deposit boxes and get caught in an extended car chase that’s what. "It's either all or nothing " realizes O2. Very prophetic. Waist Deep has got some great character names--Meat O2 Coco Lucky Junior. Too bad most of the performances can’t live up to them. Tyrese (Four Brothers) does try his best though as the hunky O2 making a convincing albeit a tad stiff attempt at playing a father who’s whole life is his son. Good (Roll Bounce) gets to wear tight sexy clothes and strut around as Coco O2’s accomplice and eventual love interest as they rob banks Bonnie and Clyde style. Larenz Tate (Crash) plays Lucky O2’s unreliable cousin who actually isn’t lucky at all caught between a rock and hard place. And then there’s Meat played by big-time rapper The Game in his feature debut. With a battered face and covered in tattoos The Game certainly looks like one mean badass wielding a mad machete. Thankfully he doesn’t have to do much more than that. Here’s a few words of advice to would-be actors who want to play effective bad guys: Less is more. It’s movies like these that really give South Central L.A. a bad rep—shoot-outs in the middle of the street in broad daylight the carjacks the depravity the sad stories of little kids getting shot. It’s not exactly a warm and fuzzy place. Of course actor-turned-director/co-writer Vondie Curtis-Hall (best known for his numerous TV guest spots) doesn’t want it to be showing the grit in all its glory and collecting a cast from the area who could lend some credibility to the surroundings. But Hall needs a few more lessons in how to craft a well-thought action movie. The script is hackneyed beyond the usual taking bits not only from Bonnie and Clyde but also Thelma and Louise Boyz N the Hood--and even a little Shawshank Redemption. Hall’s camerawork is also too frenetic at times almost dizzyingly so with unnecessary close ups and choppy sequences. That isn’t to say some of the gun play and car chases aren’t exciting enough. There just seems to be a lack of experience overall.