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 2013 nominees for the Writers Guild of America awards have been announced. Writers, you say? Yes, writers! The people that make words dance on pages to create the worlds in which our favorite shows flourish. Some people, when confronted with a brilliant episode of television automatically assume the credit for its general goodness should go to the actors. But what about the writers? They are often just as (if not more so) likely to be the reason you laughed, cried, gasped, guffawed, or squirmed in your seat during last week's episode of your favorite show.
These makers of televised scripts carry a good chunk of a show's success (and failure) on their shoulders, and leading the pack of successful witty wordsmiths? Lena Dunham and her HBO darling Girls. Overall, it seems as though cable dramas fared better than broadcast (which, duh), but on the flip-side, broadcast comedies outdid their cable brethren. Breaking Bad cleaned up in the episodic drama category, and comedy lady hero Amy Poehler got herself a nod for the episode of Parks and Recreation she penned, "The Debate."
Check out the full list of nominees below!
Boardwalk Empire written by Dave Flebotte, Diane Frolov, Chris Haddock, Rolin Jones, Howard Korder, Steve Kornacki, Andrew Schneider, David Stenn, Terence Winter; HBO
Breaking Bad written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Game of Thrones written by David Benioff, Bryan Cogman, George R. R. Martin, Vanessa Taylor, D.B. Weiss; HBO
Homeland written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Meredith Stiehm; Showtime
Mad Men written by Lisa Albert, Semi Chellas, Jason Grote, Jonathan Igla, Andre Jacquemetton, Maria Jacquemetton, Brett Johnson, Janet Leahy, Victor Levin, Erin Levy, Frank Pierson, Michael Saltzman, Tom Smuts, Matthew Weiner; AMC
30 Rock written by Jack Burditt, Kay Cannon, Robert Carlock, Tom Ceraulo, Vali Chandrasekaran, Luke Del Tredici, Tina Fey, Lauren Gurganous, Matt Hubbard, Colleen McGuinness, Sam Means, Dylan Morgan, Nina Pedrad, John Riggi, Josh Siegel, Ron Weiner, Tracey Wigfield; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
Louie written by Pamela Adlon, Vernon Chatman, Louis C.K.; FX
Modern Family written by Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Audra Sielaff, Brad Walsh, Bill Wrubel, Danny Zuker; ABC
Parks and Recreation written by Megan Amram, Greg Daniels, Nate Dimeo, Katie Dippold, Daniel J. Goor, Norm Hiscock, Dave King, Greg Levine, Joe Mande, Aisha Muharrar, Nick Offerman, Chelsea Peretti, Amy Poehler, Alexandra Rushfield, Michael Schur, Mike Scully, Harris Wittels, Alan Yang; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
The Mindy Project written by Ike Barinholtz, Jeremy Bronson, Linwood Boomer, Adam Countee, Harper Dill, Mindy Kaling, Chris McKenna, B.J. Novak, David Stassen, Matt Warburton; Fox
Nashville written by Wendy Calhoun, Jason George, David Gould, David Marshall Grant, Dee Johnson, Todd Ellis Kessler, Callie Khouri, Meredith Lavender, Nancy Miller, James Parriott, Liz Tigelaar, Marcie Ulin; ABC
The Newsroom written by Brendan Fehily, David Handelman, Cinque Henderson, Paul Redford, Ian Reichbach, Amy Rice, Aaron Sorkin, Gideon Yago; HBO
Veep written by Jesse Armstrong, Simon Blackwell, Roger Drew, Sean Gray, Armando Iannucci, Ian Martin, Tony Roche, Will Smith; HBO
“Buyout” (Breaking Bad), written by Gennifer Hutchison; AMC
"Dead Freight” (Breaking Bad), written by George Mastras; AMC
“Fifty-One” (Breaking Bad), written by Sam Catlin; AMC
“New Car Smell” (Homeland), written by Meredith Stiehm; Showtime
“The Other Woman” (Mad Men), written by Semi Chellas and Matthew Weiner; AMC
“Say My Name” (Breaking Bad), written by Thomas Schnauz; AMC
“The Debate” (Parks and Recreation), written by Amy Poehler; NBC
“Episode 9” (Episodes), written by David Crane & Jeffrey Klarik; Showtime
“Leap Day” (30 Rock), written by Luke Del Tredici; NBC
“Little Bo Bleep” (Modern Family), written by Cindy Chupack; ABC
“Mistery Date” (Modern Family), written by Jeffrey Richman; ABC
“Virgin Territory” (Modern Family), written by Elaine Ko; ABC
LONG FORM – ORIGINAL
Hatfields and McCoys, Nights 2 and 3, teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann; History Channel
Hemingway & Gelhorn written by Jerry Stahl and Barbara Turner; HBO
Pilot (Political Animals), written by Greg Berlanti; USA
LONG FORM – ADAPTED
Coma, Nights 1 and 2, teleplay by John McLaughlin, based on the book by Robin Cook; A&E
Game Change written by Danny Strong, based on the book by Mark Halperin and John Heilemann; HBO
“A Farewell to Arms” (Futurama), written by Josh Weinstein; Comedy Central
“Forget-Me-Not” (Family Guy), written by David A. Goodman; Fox
“Holidays of Future Passed” (The Simpsons), written by J. Stewart Burns; Fox
“Ned and Edna’s Blend Agenda” (The Simpsons), written by Jeff Westbrook; Fox
“Treehouse of Horror XXIII” (The Simpsons), written by David Mandel & Brian Kelley; Fox
COMEDY / VARIETY (INCLUDING TALK) – SERIES
The Colbert Report writers: Michael Brumm, Stephen Colbert, Rich Dahm, Paul Dinello, Eric Drysdale, Rob Dubbin, Glenn Eichler, Dan Guterman, Peter Gwinn, Barry Julien, Jay Katsir, Frank Lesser, Opus Moreschi, Tom Purcell, Meredith Scardino, Scott Sherman, Max Werner; Comedy Central
Conan writers: Jose Arroyo, Andres du Bouchet, Deon Cole, Josh Comers, Dan Cronin, Michael Gordon, Brian Kiley, Laurie Kilmartin, Rob Kutner, Todd Levin, Brian McCann, Conan O'Brien, Matt O'Brien, Jesse Popp, Andy Richter, Brian Stack, Mike Sweeney; TBS
The Daily Show With Jon Stewart writers: Rory Albanese, Kevin Bleyer, Richard Blomquist, Steve Bodow, Tim Carvell, Hallie Haglund, J.R. Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart; Comedy Central
Jimmy Kimmel Live writers: Tony Barbieri, Jonathan Bines, Joelle Boucai, Sal Iacono, Eric Immerman, Gary Greenberg, Josh Halloway, Bess Kalb, Jimmy Kimmel, Jeff Loveness, Molly McNearney, Bryan Paulk, Danny Ricker, Rick Rosner; ABC
Key & Peele writers: Jay Martel, Ian Roberts, Keegan Michael Key, Jordan Peele, Sean Conroy, Colton Dunn, Charlie Sanders, Alex Rubens, Rebecca Drysdale; Comedy Central
Portlandia writers: Fred R. Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley; IFC
Real Time With Bill Maher writers: Scott Carter, Adam Felber, Matt Gunn, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Mike Larsen, Bill Maher, Billy Martin; HBO
Saturday Night Live Head writer: Seth Meyers. Writers: James Anderson, Alex Baze, Neil Casey, Jessica Conrad, James Downey, Shelly Gossman, Steve Higgins, Colin Jost, Zach Kanin, Chris Kelly, Joe Kelly, Erik Kenward, Rob Klein, Lorne Michaels, John Mulaney, Christine Nangle, Mike O’Brien, Josh Patten, Paula Pell, Marika Sawyer, Sarah Schneider, Pete Schultz, John Solomon, Kent Sublette, Bryan Tucker, Additional Sketch By Emily Spivey, Jorma Taccone, Additional Material By Frank Sebastiano; NBC Universal
COMEDY / VARIETY – MUSIC, AWARDS, TRIBUTES – SPECIALS
66th Annual Tony Awards written by Dave Boone; special material by Paul Greenberg; opening and closing songs by David Javerbaum, Adam Schlesinger; CBS
2012 Film Independent Spirit Awards written by Billy Kimball, Wayne Federman; IFC
After the Academy Awards Head writers Gary Greenberg, Molly McNearney. Writers Tony Barbieri, Jonathan Bines, Sal Iacono, Eric Immerman, Jimmy Kimmel, Jeffrey Loveness, Bryan Paulk, Danny Ricker, Richard G. Rosner; ABC
National Memorial Day Concert written by Joan Meyerson; PBS
Days of Our Lives written by Lorraine Broderick, Carolyn Culliton, Richard Culliton, Rick Draughon, Christopher Dunn, Lacey Dyer, Janet Iacobuzio, David A. Levinson, Ryan Quan, Dave Ryan, Melissa Salmons, Roger Schroeder, Elizabeth Snyder, Christopher J. Whitesell, Nancy Williams Watt; NBC
One Life to Live written by Lorraine Broderick, Ron Carlivati, Anna Theresa Cascio, Daniel J. O’Connor, Elizabeth Page, Jean Passanante, Melissa Salmons, Katherine Schock, Scott Sickles, Courtney Simon, Chris Van Etten; ABC
The Young and the Restless written by Amanda Beall, Jeff Beldner, Brent Boyd, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Maria Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Lisa Seidman, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman; CBS
CHILDREN'S – EPISODIC & SPECIALS
“The Good Sport” (Sesame Street), written by Christine Ferraro; PBS
CHILDREN’S – LONG FORM OR SPECIAL
Girl vs. Monster story by Annie De Young; teleplay by Annie De Young and Ron McGee; Disney Channel
Winners will be announced on February 17th at events in New York and Los Angeles. What do you think of this year's nominees? Let us know in the comments!
[Photo Credit: Jojo Whilden/HBO]
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In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.
We meet the two very unlikely sisters while each are having sex. Rose Feller (Toni Collette) is a successful lawyer who is sleeping with her boss and thinking of ways it can improve her career. Maggie Feller (Cameron Diaz) is a party girl and at her 10-year high school reunion--after trying to have a fling in a bathroom stall--she ends up puking instead. Inevitably Maggie gets kicked out of her dad and stepmother's house and winds up on the doorstep of her sister. The Feller girls were close once when they were young girls especially after their mentally unstable mother died. But now their grown-up personalities clash rather dramatically. And when Maggie seriously crosses the line by seducing Rose's new boyfriend the straw is broken. Forced out Maggie stumbles upon some birthday cards from a long-lost grandmother and decides to go hit her up for cash. Turns out Grandma Ella (Shirley MacLaine) lives in a senior citizen's community in Florida that gets its humor from Golden Girls re-runs. Maggie may ingratiate herself within this new environment but isn't any more redeemed by reconnecting with Ella. She still acts like a petulant child. But rather than throwing her out Ella along with the gang of old folk forces Maggie to take some responsibility.
Collette (The Sixth Sense) is fantastic as the frumpy pudgy Philadelphia lawyer who gives up everything so she can walk dogs and lead a simpler life. But she's done this many times before--and honestly is so much better than Muriel's Wedding. Diaz (my personal favorite Charlie's Angel) doesn't need to stretch too far to play a conniving ditz with a heart. This is her There's Something About Mary role albeit a tad more screwed-up with a sister and lost grandma. So that leaves MacLaine as the saving grace for any worthwhile acting in this movie. Despite the obvious shuffleboard clichés--and the occasional leers at Diaz by the old guys around the pool--when the old folk are around the film gets lively and tolerable believe it or not. MacLaine leads the way with the quips and barbs but in a more subtle way than we are used to from this usually eccentric actress. The supporting cast of cranky cronies have some great moments especially veteran actor Norman Lloyd as the blind professor who teaches Maggie a thing or two about manners trust and family.
If this were Nora Ephron directing that would have been one thing but coming from Curtis Hanson the Oscar-winner who gave us L.A. Confidential it just doesn't mesh. Hanson can do quirky (Wonder Boys) he can do adventure (The River Wild) he can do hard-hittin' rap stories (8 Mile) and he can even do scary (Hand That Rocks the Cradle) but why in the world would he attempt a saccharine-soaked female family story that threatens to be a Crimes of the Heart tear-jerker? Screenwriter Susannah Grant who adapted In Her Shoes from Jennifer Weiner's popular bestseller of the same name also wrote Erin Brockovich and 28 Days. She understands strong female characters but there's still a major layer of sugar coating that Hanson can't scrape off. He doesn't tone anything down from Grant's script--not the overly cute dogs nor the embarrassing bridal shower nor the expected moments of guilt-tripping between the ladies. Instead he plods through the paint-by-number script and wraps it all up nicely into a crowd-pleasing film that is ultimately forgettable.