Despite a filmography that consists of a few stinkers, Ethan Hawke is a daring actor, mainly because he isn’t afraid to plant himself in all kinds of different films. In the last three alone, he has starred in a home invasion thriller (“The Purge”) a wonderful romantic drama (“Before Midnight”) and an intensely frightening supernatural horror movie (“Sinister”).
He’s drawn to ideas, even if the final product encompassing those ideas isn’t always successful, like the aforementioned “The Purge” or 2009’s alternate take on vampire mythology “Daybreakers.” This leads me to wonder why he would ever agree to star in something like this week’s “Getaway,” a derivative, brainless action film with zero ideas and only the thinnest of stories. After seeing “Before Midnight,” it was obvious he was going to appear on my obligatory best-of list at the end of the year. After watching “Getaway,” it’s now apparent he’ll also appear on my worst.
The film has a nifty stylized, black and white opening that begins in a wrecked apartment with blood and broken glass everywhere. Initially a first person view, it eventually transitions to a third person view where we first see our protagonist, an ex-racecar driver, Brent (Ethan Hawke). It’s his apartment that he shares with his wife, who has been abducted by a mysterious man for unknown reasons. Cut not too far in the future and he finds himself in a game where he has to use his driving talents to pull off certain jobs and if he calls the cops or is caught, his wife dies.
And thus begins a movie with no plot structure, no flow, wimpy dialogue and annoying characters so inconsequential and uninteresting that one of the two main ones isn’t even given a name, an 18 year old girl that IMDB so aptly classifies as “The Kid” (Selena Gomez). Yet the nameless character isn’t the biggest problem, but rather her and Brent’s utter lack of personality. It must be no more than a few minutes in before Brent is racing away from cop cars through a darkened Bulgaria, so no time is taken to truly characterize this man and make him someone we should care about. A mid-movie sob story about why he gave up racing is so forced in as to be almost comical.
Similarly, the first time we meet his wife, she’s being dragged screaming down a dank, decrepit hallway by two goons who lock her up for safe keeping. It’s obviously not an ideal scenario for any person, but who exactly is she? If not for the mysterious voice on the other end that helpfully labels her as Brent’s wife, we would have never even known, given that they don’t share a single minute of screen time prior to the kidnapping.
To be fair to the film, it’s not like it has high aspirations. It knows it’s a big, stupid action picture and it plays it up for all it’s worth, creating high octane chases through narrow alleyways, cluttered highways and crowded parks at seemingly every turn. It never takes the time to make these scenes work in conjunction with what little story it has, though, instead opting to make The Kid a genius tech geek, able to hack into security networks with nary a plausible explanation, no doubt a quick and accessible way to bypass all that pesky talking. But none of these scenes work because it never truly feels like the characters are in any real danger, given the incompetent police force chasing them.
At one point, after he slams into a cop car, The Kid remarks that he just committed assault with a deadly weapon, which gives the police the authority to shoot at them, yet they never do. Never does it come to mind that perhaps they could take out a tire or two, effectively ending his rampage. The only ones that are smart enough to pull out their guns are the mysterious voice’s hired hands, but even they only shoot at the body of the car, despite the knowledge that the car is armored. The worst driver in the world would be able to escape such idiotic opposition.
If there was some type of skill put behind the crafting of these action scenes, many of these problems could be ignored, but such a reality is quickly dashed. Directed by Courtney Solomon, whose only other directing credits include 2000’s abominable “Dungeons & Dragons” and 2005’s equally bad “An American Haunting,” has no idea how to stage an action scene to elicit excitement. Instead, it’s the editing that hopes to manufacture it in a thinly veiled attempt to hide the fact that what’s going on isn’t really all that interesting. The scenes are cut in rapid succession similar to the shootouts in 2009’s “Gamer,” to the point where you can barely even register certain shots before they disappear. If some of these shots were any shorter, they’d be subliminal.
Then the twist comes and the mystery man is revealed, not that we actually know who that man is as a character. The reveal is more one of the actor playing the mystery man, which means little to nothing in the big scheme of things. Strangely enough, questions are left unanswered, which is tough to do in a movie with such little plot to speak of, though you likely won’t care enough to have them answered anyway. When the movie ends, the title card flashes onscreen once more, almost as if it’s telling you to get away as fast as you can. You likely won’t need to be told twice.