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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WHAT'S IT ABOUT?
High-school misfit Will moves to New Jersey with his single mom and finds himself as socially anonymous at his new school as he was at the last. A music fanatic (he keeps a one-way letter-writing correspondence with David Bowie) Will finds his calling when much to his surprise the school’s hot blonde Charlotte Banks asks him to manage her fledgling garage band. Will accepts the offer taking a group that cranks out uninspired covers of "I Want You to Want Me" and molding it into a high-functioning jamband which he christens “I Can’t Go On I’ll Go On.” Thanks to his coaching they're soon skilled enough to take on the high school’s musical hotshots Glory Dogs at the city-wide battle of the bands Bandslam.
All the while Will is falling for the wry deadpan Sa5m (the 5 is silent I don’t know why) and dealing with the social and emotional damage wrought by his no-good absentee father.
WHO'S IN IT?
Gaelan Connell makes a compelling lead as the gangly and sweetly animated Will. Connell is smart funny and endearing like your awkward little brother. Lisa Kudrow fully engages her perfect comedic timing as Will’s kind smothering mother. Aly Michalka plays Charlotte Banks the blonde guitar-playing former cheerleader with heart and Vanessa Hudgens rounds out the crew as the introverted bookish nerd dream girl Sa5m. Rock legend David Bowie plays himself in a cameo.
The film is laugh-out-loud funny and trusts its young target audience to pick up on humor more subtle than what’s usually found in such teen fare. The dead/loser father subplots give the story a serious hook making it a little deeper and more authentically poignant than what’s expected. These twists also give Connell and Banks the opportunity to display their characters’ emotional range and they're up to the task. The way Will sways a surly audience of high school hecklers into a cheering crowd of fans might just bring happy proud mother-style tears to your eyes.
The flick boasts solid musicianship from its cast members and a deep cut-heavy soundtrack featuring artists including Nick Drake Wilco The Velvet Underground & Nico and Bowie himself.
The characters — sweet nerd alluring alterna-girl affected popular chick gaggle of musical dorks — are all cliches but the fine acting humanizes the crew in that relatable Breakfast Club kind of way.
Also at nearly two hours the film is longer than the subject matter requires.
Will and Sa5m’s trip across the bridge to Manhattan is a lovely grainy hand-held camera montage. This young love field trip/perfect first date reaches a high note when the duo breaks into shuttered punk mecca CBGB and Will finds it everything he's dreamed (a scuzzy shrine to his idols) and more (a fine place to romance his Sex Pistols-endeared love interest).
Lisa Kudrow also reminds us why she was our favorite Friend for so long in her neurotic mom role. The scene in which when she pretends to be a young babe on the prowl in order to help Will lure in a drummer to the band is pure comedic parental love.
It’s understandable that the public at large would perceive this flick to be a cheesy High School Musical-style hokefest for the Disney Channel set. Give Bandslam a chance though and it’ll prove itself to be a surprisingly smart little high school comedy that could simultaneously tide the Twilight legion over until New Moon comes out and endear itself to a broader audience wistful for a John Hughes-style junior year coming-of-age story.