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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Based on newspaper columnist John Grogan’s best-selling book about his life Marley & Me is a study of a married couple who happen to own one of the more destructive Labradors known to the canine species. From the minute newlyweds John (Owen Wilson) and Jenny Grogan (Jennifer Aniston) pick out Marley from a pen of cute Lab puppies they realize something’s up when the seller says they can have him for a discounted price. Soon it becomes very apparent Marley is un-trainable as he proceeds to jump and climb and chow down on anything he can. Still John and Jenny fall for the mutt and as their family begins to grow as they change jobs have babies move to new places Marley remains a constant fixture. For better or worse. This marks a sort of comeback for its stars. For Jennifer Aniston it’s a way to clear up all her past movie mistakes. Her portrayal of a woman coping with job marriage kids -- and dog who barks at the garbage truck waking up her napping young children at the wrong times -- shows just how mature she has gotten as an actress. Owen Wilson too has matured and proves he’s good at his craft playing John with equal measures bemusement and joy at how his life turned out. And the two are genuinely convincing as a married couple without any of the clichés. Wilson and Aniston have both had to take a hard look at themselves personally but they seem to have come out stronger on the other side. Also good is Grey’s Anatomy’s Eric Dane as John’s journalist buddy Sebastian an investigative reporter John envies at times. As for the 22 or so dogs who played Marley well director David Frankel (The Devil Wears Prada) should get a medal handling all that canine behavior. He manages to manipulate the camera to get the just the right “worst dog in the world” moments with Marley. Or he may have just pointed the camera at the dog and let the dog handler yell “Go for it!” Either way the dog tugs at your heartstrings. But audiences should know Marley & Me isn’t just a movie about the life and times of an adorable dog contrary to how the studio is marketing it. This is about a marriage and family and all the ups and downs that entails -- and how a beloved pet can be an integral part. If you plan on bringing young kids be warned it might not be a life lesson they need to learn just yet.
There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.
Think Mean Girls meets High School Musical meets whatever other high school teen scenario you can think of. Here four teenage girls make up the Bratz contingency each come from different ethnic and socio-economic backgrounds—just like the dolls they are based on. There’s Yasmin (Nathalia Ramos) a quiet Latina beauty with a great voice; Sasha (Logan Browning) the outgoing black cheerleader who loves to dance; Jade (Janel Parrish) a lovely Asian fashionista who also a wiz in chemistry; and Cloe (Skyler Shayne) the tall Caucasian blonde who despite being a klutz is a star on the soccer field. They’ve been best friends forever (or BFF as they lovingly refer to it) but once they hit high school they drift apart and into respective cliques organized by the narcissistic class president Meredith (Cheslea Staub). Still these BFF’s—who live for clothes make-up and hair products—won’t be pushed down. They’re gonna shake things up and prove it’s always best to just be yourself and stick together. You can’t really blame the unknown girls—each very cute in their own way—for wanting to bring the Bratz dolls to life. It’s a big deal! They get to sing and dance and wear all these cool clothes! They get to throw food in a cafeteria lunch fight! They get to serve sweets at Meredith’s Sweet 16 party dressed as clowns and still look fabulous! All the young girls in the audience will idolize them and wish they were a Brat too (perhaps to their parents’ chagrin). No it’s the adults in the movie you have to scratch your head about and ask “Do they really need the money that bad?” Character actors such as Lainie Kazan who plays Yasmin’s wise grandmother and Jon Voight as the inept high school principal and Meredith’s father just embarrass themselves over and over again—especially Voight who along with his mediocre appearance in Transformers has become the go-to guy to star in movies based on toys. And what’s with this latest trend to make live-action flicks based on toys? You can understand Transformers because they already had their own cartoon show and you know the movie would at least be action-packed full of cool visual effects. But a Bratz movie is a little too much. Even though it tries really hard to send positive messages there’s really nothing redeeming about turning little dolls—who frankly dress a little on the trashy side—into flesh-and-blood teenagers obsessed with how they look and dealing with high school politics. Bratz really only distinguishes itself from other Mean Girls-type movies because of the toy franchise. It would have been easier to take had it aired on the Disney Channel.
A fictional fever-dream mystery crafted loosely from the notorious still-unsolved 1947 murder of wayward wannabe starlet Elizabeth Short (Mia Kirshner) the tale teams two rising L.A. police detectives whose bone-crunching boxing bout give them political juice—Mr. Ice cool young Dwight “Bucky” Bleichert (Josh Hartnett) and Mr. Fire hotheaded veteran Lee Blanchard (Aaron Eckhart). Both men become embroiled in and obsessed with the sick horrific crime even as Dwight falls hard for Lee’s victimized world-weary live-in love Kay Lake (Scarlett Johansson)—with Lee’s unspoken approval: he’s too busy spiraling downward into a psychotic fixation with solving the murder having previously lost his sister to foul play. But Dwight’s also led astray by the more carnal temptations of voracious Madeline Sprague (Hilary Swank) the daughter of a bizarre high-society family with her own shadowy connections to the Dahlia. Sordid subplots abound simmering and swirling as in death the Black Dahlia threatens to suck everyone into an ever-widening abyss. Not entirely an epic of miscasting the film nevertheless falls short finding performers to essay Ellroy’s compelling cast: Hartnett demonstrates more depth here than in most previous efforts but comes fathoms short of the necessary mix of drive and angst to suit the complex role. Although she physically conveys a maturity beyond her years Johansson shows none of the wounded wisdom of the novel’s Kay—her seductive ethereal air would with an ebony dye job have served her far better as the Dahlia herself a cipher who becomes in the eyes of those obsessed with her whatever they dream her to be. Conversely Kirshner delivers in that elusive spectral role but the been-around-the-block-one-too-many times faded glint in her eyes would have made her a much more involving Kay. Eckhart has the spit and polish of a political-minded cop down pat but lacks the self-destructive inner fire that fuels the façade. Swank is mostly delightful by degrees—many of her choices are intriguing occasionally outrageous and give her femme fatale needed dimensions but others are overindulged. There are certainly macabre grand guignol moments in the story that make it more akin to Sunset Boulevard than its more obvious comparison Ellroy’s own L.A. Confidential but De Palma—never known for his subtlety—handles them with such an overt determined campiness any wry irony is wrung from them. The result is more of a parody—indeed an unflattering caricature—than a modern commentary on classic noir style. Add in his ceaseless camera-swooping swipes from Hitchcock and his ongoing fixation with meaningless gore—ham-fisted homages and hemorrhaging hemoglobin to ape Ellroy’s alliterative gossip-rag riffs—that distract from the intensity of the source material and all that remains is a bloody shame.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.