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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In the ever-changing west of 1882 city marshal Virgil Cole (Ed Harris) and his deputy Everett Hitch (Viggo Mortensen) are two tough dudes out to clean up lawless towns a mission that takes them to Appaloosa. This small mining town has been taken over by a ruthless power-hungry land baron Randall Bragg (Jeremy Irons) who along with his band of thugs has run the place into the ground. Although their initial efforts are met with some success Cole and Hitch run into personal and professional conflict when a pretty mystery lady Allison French (Renee Zellweger) blows into town. She complicates the picture walking on the gray line between good and evil and generally making the Marshal and his No. 2 overcome unwelcome obstacles in their fight to bring Bragg and his boys to justice. The film based on the novel by Robert B. Parker smartly details the unique problems inherent in bringing law and order to an unruly West. Guiding his co-star Marcia Gay Harden in 2000’s Pollock to an Oscar Harris the director once again shows he has a natural affinity for steering his fellow actors at least most of them into superlative performances which includes himself. In fact the actor doesn’t seem to be the least intimidated in playing the leading role in a movie he also co-wrote directed and produced. Harris comes off as the embodiment of a dedicated lawman who quietly goes about his business determined to clean up the wild wild West his way with the help of a loyal deputy. Mortensen is wonderfully authentic as Harris’ partner in stopping sagebrush crime looking like he’s lived in those boots his entire life. Mortensen’s demeanor and style in the role of Everett Hitch evokes a true feel for a place and time long gone. Together these two do not seem fake or awkwardly contemporary but instead come off as the real deal. Irons is slippery and fun to watch as the devious outlaw Bragg proving as he did in his Oscar-winning Reversal of Fortune there’s nobody as good at playing subtle shades of bad. Zellweger on the other hand lets her acting show at every turn. To be fair her character rarely adds up but she does nothing to give any dimension beyond the obvious to a woman courting both sides of the law. In only his second outing behind the camera in a decade Harris shows Pollock was no fluke. Clearly enamored with the era he nobly honors the great American western tradition crafting a film that fits in with some of the best examples Hollywood has turned out. Some may complain that Appaloosa is long on talk and short on action but the time director Harris devotes to letting his characters develop is far more satisfying than a lot of pointless violence that many Westerns wallow in. Like Howard Hawks’ 1959 classic Rio Bravo this is an honest tale of the camaraderie between a pair of lawmen simply trying to do a job. This is a director whose emphasis is focused on his cast and he’s picked them very carefully right down to the smallest roles surrounding himself with a lot of terrific character actors. Just as impressive are the top notch production values including cinematographer Dean Semler’s stunning New Mexico landscapes.
Granted there’s a glut of environmental movies--March of the Penguins An Inconvenient Truth the upcoming Leonardo DiCaprio-narrated The 11th Hour even Happy Feet--but really it should only be the tip of the iceberg. Movies such as those above and Arctic Tale are vital so we can see how devastating the effects can be on humankind’s excess and drastic climate change. With Arctic Tale wrapping this message up into an engaging story about some of the Arctic’s primary denizens—in this case an adorable polar bear cub named Nanu and a walrus pup named Seela—keeps things close to the heart. Narrated by Queen Latifah these two youngsters have it tough from the get-go but the fact the very ice that makes up their kingdom is literally melting away makes it near impossible to survive. For example Nanu and Seela both have to venture away from their disappearing ice-bound realm swimming for days in the open sea looking for a place where they can get food and shelter. It’s heart-wrenching--and it brings the point home. The predators and the hunted actually have to band together to face this single danger and seek out new ways to live in a world where the rules have changed. Queen Latifah brings her own wry sense of humor and ghetto fabulousness to Arctic Tale. She especially comes to life when she narrates Seela’s exploits with her large extended family. Walruses are a gregarious bunch and Latifah does a great job describing the sea animals as they flop around on each other on a floating ice floe or play “pull the flipper” after eating pounds and pounds of clams. Yes even farting walruses are funny. But comparisons to Morgan Freeman who is so very commanding in March of the Penguins will abound—and unfortunately Latifah doesn’t do the job quite as effectively. March of the Penguins has raised the bar; not since Born Free has a nature film been more inspiring powerful or exquisitely shot. But maybe that’s a good thing for wildlife filmmakers who now must aspire to capture nature’s grandeur and beauty the way Penguins did. Arctic Tale’s cinematography may not be as crisp as Penguins but filmmakers Adam Ravetch and Sarah Robertson who--through the National Geographic Natural History unit--certainly give it their best shot to bring us Nanu and Seela’s stories. They spent the last 15 years getting to know their protagonists “very carefully ” shooting over 800 hours of soul-stirring footage in the Canadian Arctic. Most effective are the shots underneath the ice where we see Arctic life in the murky depths--not only the walruses but other extremely unique aquatic animals such as thick-billed murres birds that actually fly underwater and narwhals fascinating whales with unicorn-like horns on their heads. Overall Arctic Tale's one true message is clear: Stop global warming before it’s too late.
Invincible is Rudy and The Rookie all rolled into one. Set in the mid-‘70s Mark Wahlberg stars as the real-life Vince Papale a blue-collar Philadelphian down on his luck after his wife leaves him. His only solace is playing football with his cronies and rooting for his beloved Philadelphia Eagles who are in a real rut. Newly hired head coach the legendary Dick Vermeil (Greg Kinnear) decides to infuse some new blood into the team by holding open tryouts. All of Vince’s friends think he’d be perfect and urge him to go for it. He does makes it and is soon playing with some of his idols much to their chagrin. I mean who is this punk anyway? Sure he’s got some excellent instincts but can he really be a NFL player with no experience? Yes in fact he can proving to all those regular Joes out there you can live the dream. Yeah yeah. Unfortunately none of the actors really add anything either. Wahlberg is definitely a natural to play this kind of role having already done so in Rock Star. At least in Invincible he gets to show off some of his athletic abilities rather than just his bare chest in black leather pants. But the performance is run of the mill. As is Kinnear who as Vermeil takes on the headaches of turning a losing team into winners all while his supportive wife sweetly reassures him he’s doing the very best he can. Seen it. To their credit some of the supporting actors—including Kirk Acevedo (The New World) Michael Kelly (Dawn of the Dead) and Michael Rispoli (Mr. 3000)—paint a convincing picture of genuine camaraderie between local Philadelphians. And Elizabeth Banks (The 40 Year-Old Virgin) rounds things out as Vince’s cute love interest (and eventual real-life wife) who knows a few things about football by golly. You’d think Invincible would be a no-brainer feel-good kind of sports flick. It’s based on a real-life person has that whole underdog thing going for it and it’s football. What could go wrong with that? Nothing really besides the fact it’s been done about a hundred times over—and has now been left in the hands of newbies. First-time director Ericson Core a former cinematographer and writer Brad Gann are clearly green doing things by the play book line for line. It’s scary helming a feature film for a big studio like Disney who had such sport hits like The Rookie and Remember the Titans. Perhaps Core wanted to go more out on a limb but was reigned in. Who knows? The football scenes are definitely the highlight and Core handles the action well. I mean you do want Papale to prove himself the natural athlete he truly is and make all his homies proud. But the rest of it is just blah.
In this film based on the Newbery Award-winning children's book by Kate DiCamillo Opal (AnnaSophia Robb) is a lonely 10-year-old girl who has moved to a sluggish small town in Florida with her preacher father (Jeff Daniels). She has a tough time getting through to her dad: when he is not preaching the gospel he walks around in a haze haunted by the departure of Opal's mother many years before. But when Opal adopts Winn-Dixie named after the supermarket where she found the mutt things start to brighten up for the little girl. With her special companion by her side Opal ends up meeting some pretty interesting people in the town. They include Miss Franny (Eva Marie Saint) the local spinster librarian who spins great stories; Otis (Dave Matthews) the shy drifter working at Gertrude's Pet Shop; and Gloria (Cicely Tyson) an old blind lady living with ghosts from her past. Through Opal's sunny disposition and Winn-Dixie doggone tenaciousness they help the town find their joy and their sorrow. And at the same time they mend Opal's troubled relationship with her father. Collectively now awwww!
All the players fit snugly in this warmhearted movie especially the talented young Robb who makes her feature film debut in Winn-Dixie. It's imperative to cast an adorable child and Robb doesn't disappoint keeping things genuinely fresh with the big eyes infectious smile and Rebecca of Sunnybrook Farm charm. Daniels too doesn't overplay it as the wounded preacher--aptly described by Opal as a turtle--who rarely sticks his head out of his shell. Veterans Eva Marie Saint and Cicely Tyson do what they can with their stereotypical parts as the kindly spinster storyteller and kindly old wise woman respectively. But it's singer-turned-actor Dave Matthews who stands out as the drifter with a troubled past but can "sing most anything " even charming the animals in the pet shop á la the Pied Piper. His poignant performance is up there in the sentiment department.
Here we go with the children and the animals again. Wayne Wang (Maid in Manhattan The Joy Luck Club) is the latest director to take a stab at guiding those most unpredictable of actors. As he explains "Sometimes the going is slow. But then suddenly something magical happens that you couldn't possibly have planned or anticipated." It's true. There are definite moments of inspired sweetness especially between Opal and Winn-Dixie played by a Picardy Shepherd a rare breed of dog from France that has the look of a big old lovable mutt. And of course you can't go too wrong using heart-tugging material based on a beloved children's novel on par with Where the Red Fern Grows and Rebecca of Sunnybrook Farm. That's also Because of Winn-Dixie main problem. Fans of the book will certainly love the film but overall it doesn't really offer anything new in this genre. It's the same general premise about the kid and a dog--or a horse a deer whichever animal works best--who can change the lives of those around them just from being pure of heart. Maybe it's the curmudgeon in me but Winn-Dixie just doesn't stand out among the plethora of films similar to it.
Since they were young girls growing up in the Midwest Connie (Nia Vardalos) and Carla (Toni Collette) have shared the same dream--to become the next biggest thing to hit musical theater but so far performing in an airport lounge is the closest they've come. Their lives change however when they witness a murder by some nefarious drug dealers and in an attempt to escape end up in Los Angeles which has "no dinner theater no musical theater no culture at all." It's the perfect place for them to hide out and all goes to plan until Connie and Carla happen upon a local drag club. Suddenly they see an excellent way to elude their pursuers--and fulfill their need to be on stage at the same time. Pretending to be men dressed as drag queens Connie and Carla are soon headlining at the club belting out the show tunes they love. They become a huge hit getting the fame and recognition they've always wanted--but as time wears on the whole charade turns out to be a real "drag" ("pun intended " as the gals like to say) especially when Connie falls for nice guy Jeff (David Duchovny). Still with the killers hot on their trail Connie and Carla have to stay incognito--at least until they can find a way to come out of the closet without getting killed or disappointing their growing legion of fans.
The very charismatic Vardalos wowed audiences with her first feature the smash hit My Big Fat Greek Wedding and is probably feeling more than a little pressure to follow up with something just as good especially since the Big Fat Greek spin-off TV series failed miserably. Luckily she succeeds with Connie and Carla due in large part to her co-star Collette who finally--after a string of dramatic movies such as The Sixth Sense and The Hours--gets to use the comedic skills she deftly showed in her feature film debut Muriel's Wedding. Together the actresses' natural rapport and infectious charm permeate the film and despite a sometimes hackneyed script they keep things lively and boy can they sing! Vardalos and Collette make the most of their musical theater backgrounds working the stage and making the film's musical numbers truly memorable. Vardalos also displays a fair amount of chemistry with Duchovny as the straight Jeff desperately struggles with his burgeoning feelings for someone he believes is a man. The last little plus is C and C's supporting cast including the bonafide drag queens the girls befriend at the club. Led by the Tony-winning Stephen Spinella (Angels in America) as Robert/"Peaches " who also happens to be Jeff's estranged brother the supporting guys/dolls add that certain La Cage joie de vivre.
As she did in My Big Fat Greek Wedding writer/actress Vardalos' script speaks from the heart with genuinely fresh funny and down to earth dialogue. Apparently she did loads of dinner theater in her early years so she's familiar with the subject. Unfortunately she relies on a contrived Some Like It Hot plot about vengeful drug dealers to get Connie and Carla to L.A. but once the film gets into drag it zings. Connie and Carla is also in capable hands with director-actor Michael Lembeck (The Santa Clause 2) a former song-and-dance man himself at the helm. The broad comedic style he picked up directing countless television sitcom episodes serves well here and he turns the musical numbers into mini show-stoppers each one topping the next. The last is the best of course when the girls launch into "I'm Just a Girl Who Can't Say No" from Oklahoma capped by a special guest appearance from the musical theater goddess herself Debbie Reynolds. Classic.