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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The veteran actor passed away on Tuesday (17Jul12). Details of his death have not been released, but Paull was diagnosed with stomach cancer earlier this year (12).
The actor, who also appeared in film classics Patton and Norma Rae, played Holden in Ridley Scott's sci-fi hit and became the director's sidekick on set after suggesting he hire Daryl Hannah to play replicant Pris in the film and fire Sean Young.
Scott agreed with Paull on the former and famously ignored him on the Young advice, casting the actress as Harrison Ford's love interest in the movie.
Paull became a serious theatre actor first on Broadway and then in California, where he was spotted by Franklin J. Schaffner and cast in his 1970 epic Patton, alongside George C. Scott.
Paull was with the movie great in Spain, where the film was shot, when Scott allegedly claimed the eye of a drunk American tourist in a bar brawl.
Paull also appeared in Fools' Parade and John Wayne movie Cahill U.S. Marshal.
He also enjoyed success on TV with roles in Gunsmoke, The Waltons, McCloud and Ironside, and he was a long-time union official in Hollywood, serving on the Screen Actors Guild board of directors and co-founding Actors Working for an Actors' Guild with close friend Charlton Heston.
He also made his mark in Hollywood as a talent agent.
Scott Adam, who worked on hit 1980s TV series The Dukes of Hazzard, was one of four Americans captured last Friday (18Feb11) when their yacht was hijacked in the Gulf of Aden.
U.S. Navy SEALs had been in negotiation with the pirates to free the hostages, but discussions were halted on Tuesday (22Feb11) when one kidnapper fired a rocket-propelled grenade at the rescuers' nearby warship, Sterett.
The pirates subsequently opened fire on the four Christian missionaries, including Adam and his wife Jean, leaving them dead or mortally wounded by the time special forces were able to board the ship, according to Navy Vice Admiral Mark Fox. The four victims are the first Americans killed by pirates in the area.
Adam, 70, worked in film and TV throughout the 1970s and '80s and served as an assistant director on U.S. shows The Dukes of Hazzard, The Love Boat and McCloud. He was also a production manager on 1985 movie classic The Goonies.
He walked away from Hollywood to dedicate his life to missionary work and spent the last seven years sailing around the world with his 66-year-old wife, handing out Bibles wherever they travelled.
The Adams were parishioners at St. Monica's Roman Catholic Church in Santa Monica, California - the same church frequented by former California Governor Arnold Schwarzenegger, veteran actor Martin Sheen, and model/actress Brooke Shields.