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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Having inherited the mantle of the serial killer known as Jigsaw (Tobin Bell) Detective Mark Hoffman (Costas Mandylor) tries to cover his tracks while executing yet another elaborate torture scheme and staying one step ahead of FBI agent Peter Strahm (Scott Patterson) who survived his previous encounter with Jigsaw but may not be so lucky this time around. Like so many horror franchises of recent (and not-so-recent) vintage -- Halloween Friday the 13th A Nightmare on Elm Street -- the latest Saw doesn’t deviate from the formula. Endlessly repeating the same rudimentary elements may spell big bucks at the box-office forked over by the Saw faithful but even die-hard fans will be hard-pressed to find something even remotely new or inventive here. In what must be an effort to mix things up screenwriters Patrick Melton and Marcus Dunstan revise (i.e. screw around with) some of the earlier film’s plot twists with “new” flashbacks that offer different perspectives than was first depicted. If this is intended to provide surprise to the well-worn storyline it isn’t successful. It only makes a murky story even murkier. Jigsaw may have met his end at the conclusion of Saw IV but Tobin Bell is all over the place this time around seen either in flashback or on television screens. With his menacing whispery delivery Bell can hardly be accused of sleepwalking through his role but one suspects that the basic enticements for him here were top billing -- and the paycheck that goes along with it. The beefy Mandylor skulks his way through the one-dimensional role of Hoffman while Patterson brings a bit of intensity to his role as the dogged Strahm. Betsy Russell fondly remembered as a teen B-movie queen of the 1980s (Private School Avenging Angel) plays Jigsaw’s ex-wife while Meagan Good and Julie Benz (in an ill-fitting black wig) portray two of the latest “players” in the latest Jigsaw puzzle. Shawnee Smith Angus MacFadyen and Danny Glover who all met their onscreen ends in previous installments make token flashback appearances here -- to no discernible effect. Mark Hackl the production designer of Saw II – IV who was originally tapped to direct the fourth installment now makes his directorial debut. As one might expect he retains the decayed urban design of the previous films (which he of course designed) and there are the requisite gallons of gore and guts for those who enjoy that sort of thing. What would the Saw films be without such visceral pleasantries? But for all the technical ingenuity of some of the lethal booby traps there’s a distinct dullness to the proceedings. Saw V is appropriately gruesome but it’s not particularly exciting or suspenseful. As a Halloween scare-fest it’s all trick and no treat … and yes the door is left wide open for another installment. Enough’s enough already.
Based on Toby Young’s 2001 memoir of the same name How to Lose Friends and Alienate People is perhaps this year’s most refreshing comic surprise especially since we had no expectations that a book like this could ever be made into a successful movie much less a romantic comedy. The film like the book charts Young’s (now renamed Sidney and played by Simon Pegg) move from London to New York to become a contributing editor at Vanity Fair magazine (now called Sharps). The movie’s plotline details the absolute knack this guy has for saying just the wrong thing at the wrong time. Sidney finds he is in way over his head but the magazine’s owner Clayton Harding (Jeff Bridges) discovers something in him worth keeping. Since Young had written the counter-cultural polar opposite type of material in England it’s odd that he suddenly is thrust into the world of American celebrity where he manages to befriend and become a confidante of Hollywood starlet Sophie Maes (Megan Fox) and strike up a romantic interest in co-worker Alison Olsen (Kirsten Dunst). We watch as Sidney balances his new professional and personal life living precariously on the edge of imminent disaster in both. Pegg somehow sets up this loser (at least initially) for audience sympathy. It’s no small achievement but he’s alternately obnoxious and endearing--just the way we love to see him. Sidney manages to insult just about everyone with his complete social ineptness yet Pegg never sails off the edge and keeps him grounded comedically. You can imagine what might have happened had someone like Will Ferrell or Adam Sandler gotten their hands on this script. Pegg is almost a throwback to the Chaplin era a comic buffoon with heart we can’t help but like. In fact the whole cast is terrific. Dunst can be annoying but not this time. She’s absolutely winning and the perfect foil for Pegg. Their budding romance is believable even though on the surface they couldn’t be more different. Bridges with long graying hair does his best Graydon Carter impression as the sly owner of the glossy gossip magazine. The stunning Fox lives up to her name and she happens to be very funny too as a vapid starlet obsessed with creating an image. The main cast is rounded out by Danny Huston as Young’s immediate boss and Gillian Anderson delicious as the grand dame of PR in New York. Robert Weide won an Emmy directed HBO’s hilarious sitcom Curb Your Enthusiasm which he shepherded for five seasons. Certainly if he can handle Larry David’s almost entirely improvised style of comedy he’s a cinch to make this thing sing--and he does in style. At every step of the way this is the kind of movie that could have gone broadly overboard but sticks smartly and faithfully to character instead. Sure there are missteps but mostly it all goes down like a fine glass of chardonnay. The movie shot largely in London--which doubled for New York in many scenes--looks great and the superb cast is clearly in the hands of a man who knows his way around a nifty comic premise. There’s even a running homage to Fellini’s La Dolce Vita that cineastes are gonna love particularly a scene at a celebrity party where Fox gets the paparazzi’s attention by walking fully clothed across a shallow pool. Weide cleverly scores it with Nino Rota’s gorgeous Dolce Vita theme a wry moment in a fun movie worth checking out.