GetAWAY


That’s the way to get ahead in the movie business.

(2020) Horror (GravitasEmma Norville, Danielle Carrozza, Kyle Mangold, Franchesca Contreras, Joshua Cody, Michael Recchia, Jon Rust, Kristel Rachocki, Abigail Haggerty, Kira Jackson, Trevor Stevie Ray Ontiveros, Cherish McCormick, Joseph P. Durbin, Hank Stone, Jacob Yard, Marissa Chaffee, A.J. Cabbagestalk, Connor McLean, Stanley Payne, Ali Dougherty.  Directed by Blayne Weaver

 

It is often said (because it is absolutely true) that making movies is a collaborative effort. When everything goes smoothly, you can tell in the final product that it did. When things are more chaotic, well….

Student would-be actress Maddie (Norville) is still reeling from the break-up with her now ex-boyfriend Noah (Cody) and her bestie Harlowe (Contreras) suggests she accompany a student film company heading into the mountains at a deserted summer camp to shoot a horror movie. For one thing, it would get her some valuable film credit; for another, it would get her out of town, out of her dorm room and give her the opportunity to forget her troubles with a whole lot of drinking and flirting. Unfortunately, nobody told Noah who is also bringing along his new girlfriend Kayla (Carrozza) along for the same getaway. You just know that isn’t going to turn out well.

You don’t know the half of it. You see, unbeknownst to the clueless students, there’s another movie being filmed in the same location shoot. And this one’s a snuff film – in fact, their suddenly missing professor (McCormick) has already done a cameo. And the really fun part? They’re all tapped to be the stars.

College students fornicating, drinking, and doing drugs in a remote location with no cell service. Sounds like a movie you’ve seen before, no? Yes. And there is nothing that’s particularly memorable here compared to any one of a dozen slasher films set at Camp Crystal Lake, Sleepaway Camp or Cheerleader Camp. That isn’t to say that Weaver, who also wrote the script, wasn’t trying to at least be a little bit different, but let’s face it; the script had been sitting, forgotten, in his desk for more than a decade. He did do a polish on it, but it still feels a little dated and I don’t mean ten years – it feels like something you might have seen in 1983. That’s not necessarily a bad thing, particularly for younger viewers who ight not have seen a lot of movies from that era, but those of us who cut our teeth on slasher films from that era might find this disturbingly familiar.

Weaver, who utilizes a lot of cast and crew from the University that he teaches at, at least captures the feel of a student film, but that’s a double-edged sword. We end up with a spineless director, a tightly-wound producer and a cameraman who’s more interested in getting high than getting the shot. And all of them talking like they’re making the next iteration of Battleship Potemkin while they’re at it.

I can’t really say that this is a bad movie, because it isn’t. It just isn’t particularly memorable. The trouble with slasher films is that there’s only so many ways that you can kill somebody without making it look ludicrous or like a self-parody. If you really dig slasher films and you’re looking for some, ahem, new blood, well, here’s a whole mess of it. For those who like their horror films a little bit more inventive, there are other movies out there that would serve them better than this one.

NB: This shouldn’t be confused with Getaway, another 2020 horror film but this one starring Scout Taylor-Compton.

REASONS TO SEE: There is a certain amount of satisfaction watching these bickering ninnies get 86ed.
REASONS TO AVOID: An unremarkable, standard slasher movie.
FAMILY VALUES: There is profanity, vioilence and sex.
TRIVIAL PURSUIT: Weaver was director-in-residence at Shenandoah University at the time of filming; most of the cast were students at the University.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Vudu
CRITICAL MASS: As of 12/30/20: Rotten Tomatoes: No score yet, Metacritic: No score yet.
COMPARISON SHOPPING: Behind the Mask: The Rise of Leslie Vernon
FINAL RATING: 5/10
NEXT:
Tiger Within

The Wizard of Oz


We're off to see the Wizard!

We’re off to see the Wizard!

(1939) Musical (MGM) Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke, Margaret Hamilton, Charley Grapewin, Pat Walsh, Clara Blandick, The Singer Midgets, Dorothy Barrett, Amelia Batchelor, Charles Becker, Buster Brodie. Directed by Victor Fleming

Most movies are a product of their times. Most people can without knowing when the film was made have a pretty good idea of approximately when it was filmed just by looking at the costumes and hairstyles, listening to the dialogue and so on. Some movies though, transcend the times and become classics. These movies will be around much longer than you and I will; long after we’ve shuffled this mortal coil, audiences will still be enjoying them.

The Wizard of Oz is one such classic. Even though few of us were around when it was released back in 1939 most of us have childhood memories revolving around the movie thanks to its annual appearance on broadcast TV in the 60s through the 90s and of course it’s availability now on home video. Even today when I watch the movie I still feel the same wonder I did when I first saw it on television as a young boy.

Need I tell you the plot? Everyone knows that young Dorothy Gale (Garland) and her beloved dog Toto are transported from dull and sepia-toned Kansas by a twister (or tornado if you prefer) to the colorful and magical land of Oz. Her arrival accidentally ends the life of the Wicked Witch of the East, whose magical ruby slippers are placed on Dorothy’s feet by Glinda (Burke) the Good Witch of the North which protects her from the Wicked Witch of the West (Hamilton).

Getting Dorothy home won’t be easy so Glinda sends her down the Yellow Brick Road to the Emerald City where Oz (Morgan), the Great and Powerful Wizard of Oz could help her. Along the way she meets up with the Scarecrow (Bolger), the Tin Man (Haley) and the Cowardly Lion (Lahr) who become fast friends with Dorothy. The Wizard sends them on a quest to fetch the broom of the Wicked Witch to prove their worth but how will these friends, who need brains (the Scarecrow), a heart (the Tin Man) and courage (the Lion) be able to help Dorothy – who just wants to go home – against a powerful and evil sorceress?

Along with Gone With the Wind this may be the most beloved film ever made. It is Da Queen’s all-time favorite so it gets a regular viewing in our household. We even went and saw it on the big screen a couple of years ago to mark its 70th anniversary. I will say that if ever a revival house shows it or if it makes an appearance for a special event at your local cinema, you should by all means try and see it on the big screen – it makes a huge difference.

Even if the only place you ever see it is on your TV or computer screen it is well worth a look. It is a thing of brilliance, from the contrast of the drum and sepia-toned Kansas sequences (which includes the “Over the Rainbow” musical number, perhaps the best ever set to film) with the colorful and whimsical Oz sequences. For most of the actors who would appear in the movie, it would be a career-defining moment.

A lot of the films from this era are extremely dated and don’t hold up to modern standards but this isn’t one of those. Although the special effects are primitive by our standards there is still a magic here that goes beyond CGI. Part of it is simply that part of your inner child who loves to play “make believe” that this movie speaks to but part of it is simply that great care was taken to make this fun and lovely to look at from every angle. Sure, the art deco Emerald City looks like Miami’s South Beach on crack but that’s half the joy.

Garland was never better than she was here, a performance of lovely simplicity that made her utterly believable. When she sings “Over the Rainbow” it is with such yearning that your heart almost breaks – and empathizes. Haven’t we all wanted to go over the rainbow in our darkest moments?

Lahr, one of the most popular comedians of the era, nearly steals the show as the Cowardly Lion. He’s kind of like the soldier from Brooklyn who lightened up the wartime flicks that would come in the intervening years, and his delivery of the Lion’s lines (say that real fast if you dare) is iconic to the point that most of us often do our own impressions of it (go ahead and deny it if you can). Overall it is a tribute to friendship and loyalty that resonates with all of us – who hasn’t wanted friends like the Scarecrow and the Tin Man at our backs?

This is the kind of movie that transcends movies. It is what brings families together to watch something so pure that we can all enjoy it without thought of politics, race, religion or just about anything. It’s appeal is so universal that it goes beyond boundaries and lines – it is as popular elsewhere in the world as it is here in America. One cannot hear “We’re off to see the wizard!” without thinking they’re embarking on an adventure of their own.

In short, this is a movie you don’t just like, you come to love it. It’s not a movie you watch or even experience, it becomes part of you. It is why people fall in love with the movies to begin with. My highest rating is 10 out of 10, but this is one of few movies that is above such inane things as ratings. It’s just something special you shouldn’t cheat yourself out of.

WHY RENT THIS: A true classic and a great means of family bonding.

WHY RENT SOMETHING ELSE: I don’t know. You don’t like classic movies maybe?

FAMILY VALUES:  There are a few scenes that might frighten the very young and very sensitive.

TRIVIAL PURSUIT: Garland wore a corset across her torso so she would appear younger and flat-chested.

NOTABLE HOME VIDEO EXTRAS: The 2005 release Collector’s edition (the one in the green case, not the yellow) has a wealth of extras, including Angela Lansbury reading an abridged version of the book complete with original illustrations; an 11-minute featurette on the restoration process and several documentaries on the making of the movie and it’s enduring legacy. There are five silent era versions of the book as well as an animated short from 1933 There’s a 28 minute feature on the life of L. Frank Baum, author of the beloved book that started it all and there are some stills and promotional materials (including a souvenir program from the Hollywood premiere in 1939). Believe it or not, the 2009 70th Anniversary Blu-Ray has all that and even more – a 52-page hardcover book about the making and marketing of The Wizard of Oz, a wrist watch, a sing-along track, a 1992 made-for-TV movie called The Dreamer of Oz starring the late John Ritter as Baum, a radio broadcast in which Garland reprised her role as Dorothy Gale and on its own double-sided disc a six hour documentary on the history of MGM. It’s pricey but worth the added expense for the Oz junkie in your family.

BOX OFFICE PERFORMANCE: $17.7M on a $2.8M production budget; in 1939 dollars that’s a major blockbuster.

COMPARISON SHOPPING: Gone With the Wind

FINAL RATING: 11/10

NEXT: Oz the Great and Powerful