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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Dealing with a bunch of small-time thugs shady London mobsters Russian millionaires junkie rock stars and assorted other members of the criminal underground director Guy Ritchie has thankfully returned to the beat he knows best--even if the accents are a bit thick and the action often confusing. In this version of contemporary London it’s real estate--and not drugs--that is attracting all brand of criminal with the dangling carrot of a multi-million dollar deal. Into this mix comes the scrappy One-Two (Gerard Butler) and his cohorts Mumbles (Idris Elba) and Handsome Bob (Tom Hardy) who manage to get a loan from the super-crooked old-timey crime boss Lenny Cole (Tom Wilkinson). He intends to nab the property for himself and demands the money owed him anyway. In order to get the money repaid One-Two hooks up with an attractive but shifty accountant (Thandie Newton) who works for a shady rich Russian dude. This is just the beginning as the plot thickens and the atmosphere gets loaded with all sorts of interweaving characters with distinct motivations of their own to get a piece of the pie in an ever-changing London. Guy Ritchie knows how to cast these things and RocknRolla is no exception--starting with Wilkinson almost recognizable as the vicious oily mob boss who knows how to work the system to get just what he wants. Wilkinson is deliciously fun to watch. So is Toby Kebbell as Lenny’s loopy and off-the-wall stepson--a junkie rock star named Johnny Quid who turns out to have the key to all the money. Butler is strong as the macho small-time thug out to conquer London real estate but gets stuck in a silly subplot when his partner (Hardy) suddenly admits he’s gay and has feelings for him. Mark Strong also impressive in this week’s Body of Lies is terrific as Lenny’s right-hand man Archie a guy who knows how these operations work. Karel Roden has nice moments as the billionaire Russian but we wished there was more to Newton’s role as she simply turns up every now and then without adding much to the proceedings. Elba (The Wire) is great as Mumbles One-Two’s best buddy and other partner in crime. And just for fun a couple of Americans get thrown into the stew: Jeremy Piven and Chris “Ludicris” Bridges playing rock promoters who are trying to make it in the London music biz. Guy Ritchie has had a rough patch lately what with the dreadful Swept Away and the mind bogglingly numbness of Revolver which sat on the shelf for two years before finally getting a nominal U.S. release. It’s no wonder the director wanted to return to the Lock Stock and Two Smoking Barrels and Snatch turf in which he made his name. With RocknRolla he’s done just that and the results are encouraging. This flick is pure Guy Ritchie with his patented penchant for colorful low-life characters dense crime plotlines and a gang that can’t seem to shoot straight. Even though there are characters being dropped in at a steady pace and lots of stuff always going on Guy Ritchie manages to keep it all humming and visually arresting. Another big plus is the soundtrack which cranks. Overall RocknRolla really rocks and totally delivers. It’s a wild ride all the way. A promised sequel on the end credits can’t come too soon.