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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Set up very much like a documentary United 93 puts you right there onboard United Airlines Flight 93 the fourth hijacked plane on Sept. 11 2001 which crashed in a Pennsylvania field just short of its intended target. The first half of the film cuts between the mundane routine of boarding the ill-fated flight to the horrifying events unfolding at the World Trade Center played out in airport control towers as well as the FAA's command center in Herndon Va. and the military's center at the Northeast Air Defense Sector in upstate New York. Everyone is scrambling trying to figure out what’s happening while an air of absolute powerlessness hovers over them. Then for the last unbelievably heart-wrenching 30 minutes or so we are back on the plane. We watch as the hijackers wait and wait to make a move and then once they do watch as the passengers realize the gravity of the situation after talking with their loved ones on the ground. The heroism the defiance is palpable. "They were the first people to inhabit the post-9/11 world " Greengrass says in the press notes. And to keep things as accurate as possible Greengrass reportedly interviewed more than 100 family members and friends of those who perished in order to get not only their blessings but an inkling of what might have transpired on the plane. He also gathered facts from the 9/11 Commission Report. He hired flight attendants and commercial airline pilots to play those roles; hired several civilian and military controllers on duty on Sept. 11 including the FAA's Ben Sliney who plays himself; and finally rehearsed and shot his actors in an old Boeing 757 at England's Pinewood Studios. You’ll recognize some faces character actors who’ve been in countless films and TV shows. But the key is to keep United 93 rooted in reality--and to do that you can’t have an A-list star mussing it up. Greengrass is not afraid of making hard-hitting films such as 2002's Bloody Sunday a dramatization of the Irish civil rights protest march and subsequent massacre by British troops on January 30 1972. With United 93 he has once again documented one of modern history’s most defining moments. Of course the controversy surrounding United 93--whether or not it should have even been made--is all understandable and justifiable. Sept. 11 is still indeed a raw nerve. How can it not be? We are living in a completely changed world because of it and no amount of time can ever really alter that. But you can't fault Greengrass for feeling compelled to tell this story and can only appreciate him for doing his homework thoroughly and giving it to us straight from the heart. Sort of a collective heart I should say since it really speaks to humanity and the ways we are capable of such great courage in the face of such insurmountable odds. Obviously we will never know exactly what happened on the flight but at least we know something monumental took place. Now let’s see how Oliver Stone and Nicolas Cage handle 9/11 in the upcoming World Trade Center.