August 2009
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A Perfect Getaway (15)
Posted 10th August 2009

Released just in time to totally put people off their impending tropical break, A Perfect Getaway is a more than welcome cinematic surprise: a genuinely entertaining murder mystery, action-thriller that keeps you guessing. For once.

A tightly written, character-based whodunit rather than the high-octane serial killer stalks in the tropics that you might have expected from the slightly misrepresentative trailer, Getaway stars Steve Zahn (nerdy) and Milla Jovovich (Valley girl) as happy honeymooning couple Cliff and Cydney. Hawaiian island hopping on a tropical trekking break, their current hike is along a secluded and treacherous trail that leads to an isolated beach paradise. But along the way they learn that a brutal double murder recently took place on the islands and that the police are looking for male and female travelling companions as their chief suspects.

Crossing paths first with suspicious couple Kale (Papa Kirk, Chris Hemsworth) and Cleo (the criminally-undercast Marley Shelton), then later hooking up and hiking along with ex-military man Nick (the testerone-tastic Timothy Olyphant) and Gina (the smokin’ hot, sure-to-breakthru’ Kiele Sanchez), Cliff and Cydney start to question whether either of the pairs could actually be the ones responsible and whether they should keep continuing along or make a break for it and flee?

Three key elements make Getaway a success where many other similar-style thrillers have failed: the strong character-focused script, a well-chosen first-class cast and a solid but, crucially, not over-the-top stupid, action-based third act.

For a full hour (at least) of this film’s unusually short 90ish minute runtime, there is little-to-no action. Instead what you get is (mostly) four characters interacting in pleasantly realistic ways and words, building suspicion as to who is actually responsible for the hearsay murders. Olyphant’s “American Jedi” Nick often seems the most likely suspect with his painful history in covert ops, propensity towards assembly-weapons and Gina’s repeated declaration that “he’s really hard to kill”, but there are plenty of character twists and various red “snappers” along the way as to the real identity of the killer(s) to constantly keep you guessing. There’s also an entirely enjoyable line of Scream-style self-referentialism peppered throughout as Cliff’s professional screenwriter and Nick’s film-school disciple discuss screenplays, their structure and how every good film requires “a great third act twist”. Just as it seems the options for the identity of the killer has run out, leaving only Olyphant. Hmm... foreshadowing perchance or trying to throw us cine-savvy viewers off the scent.

None of this would probably have worked without such strong acting portrayals from a perfectly-cast group of actors though. The six leads work hard to give their characters depth and quirks with consistent success across the troupe regardless of screentime. With the shortest overall, Shelton and Hemsworth have the most work to do in the least amount of time but manage to make their grungy, backwater Bonnie and Clyde much more than the cipher’s they might have been. Jovovich was an interesting choice for the everygal character of Cydney, so normally up for the kick-ass girl fighter, but she just about manages to pull “normal” off. It helps that she’s bouncing off Zahn who always seems to be able to perform to a consistently high standard no matter his co-star. He’s slightly different here in the sometimes grating straight-man role of Cliff, but still manages to bring his funny and some wide-eyed concern along with the character-required, out-of-his-element nerdy.

The most interesting characters and performances are undoubtedly from Olyphant and Sanchez though. He’s alpha male and mysterious, but very very charming and likeable. In that attractive, difficult-to-read, dangerous way. You can certainly see what women would see in him. When the character fits, Olyphant is untouchable (Scream 2 / Go / The Girl Next Door / Deadwood) and this is one of those occasions where the character very much fits. Alongside him as his girl adventurer, Sanchez proves herself to be much more than just a pretty face and bikini body. Tough-but-tender with unexplored levels underneath the surface and totally keeping up with her on top-form on-screen other, she is a revelation after being booted off of Lost in an infamous episode after her character proved to be unpopular. Big things should prove to be just around the corner for this burgeoning lead actress.

Directed with real visual flair by talented writer/director David Twohy (Pitch Black / Below / The Chronicles of Riddick), the character-focused first two-thirds mostly utilises wide-angles to capture the lush surrounding and expansive vistas to their full effect, in conjunction with close-ups of the photogenic cast to help delve into their psyche and build suspense as to what or who is just out of shot. Then once the third action-packed act kicks off he unleashes his full bag of visual tricks. Starting with lengthy black-and-white flashbacks to piece together how every hint and clue now fits together, he then goes all kinetic as characters start fighting for their lives. They punch, kick, run and jump through flash cuts, split-screen comic book panelling and pacing trickery all keeping you more than visually-stimulated and unsure of which way the brutal (and it really is, every blow, slash, stab or shot really looks like it hurts) battle for survival is going to go. What’s additionally great once this all kicks off as well is that it all plays out to the rhythm of realism, resisting the temptation to go all over-the-top, indestructible. Well, except for the “really hard to kill” Nick of course.

A less-than-perfect film and nothing more than throwaway fluff, A Perfect Getaway is nevertheless a thoroughly entertaining energetic Friday night at the flicks. Some will see the reveal coming which might affect their enjoyment, but for the rest there’s a fun, suspenseful, ninety-minute guessing game to be had where you actually care about the characters’ fate. For once.

*** (and a half)