The Get Out is a difficult film to recommend. Not just because of some narrative flaw or issues with the script, the presence of such elements notwithstanding. Rather, it’s the overly familiar aspects of the film’s plot that presents the biggest challenge. No matter how much I enjoyed its interesting premise, solid performances, and brief moments of humor, The Get Out still winds up being just another by-the-numbers crime thriller.
Loosely based on Thomas Perry’s 2010 novel “Strip”, The Get Out follows the exploits of an Albanian nightclub owner named Manco (Russell Crowe). Forced to contend with his unhealthy lifestyle after a cardiac event lands him in the hospital, he considers retiring in hopes of reducing stress. This proves difficult given the true nature of his business and its ties to the cartel. Violent criminals, corrupt detectives, backstabbing employees – Manco’s decision to sell his club and go legit has predictable results. That said, The Get Out initially entertains by focusing on his need to avoid stress while navigating the precarious situation he’s found himself in.
Manco’s unique dilemma changes how certain events are perceived early on. A dire situation involving armed thugs would naturally feel tense. This tension ramps up when considering Manco’s health, the idea being that he could just as easily die from a heart attack as he could getting shot. Other moments are played for laughs. Despite his charming personality, Manco tends to lose his cool when met with disrespect. Whenever his girlfriend Sunny (Teresa Palmer) tries to calm him down, she’s met with a nonsensical, yet humorous verbal outburst.
The emphasis placed on the health of a stress-prone individual who’s trying to escape his past is compelling. Unfortunately, The Get Out doesn’t maintain this narrative thread throughout. At a certain point, the film shifts its focus towards other key characters. This change in perspective is important as their actions lead to a few twists and turns. But the more their lives encroach upon Manoc’s, the less attention is given to his health concerns. Eventually, the notion of him even having a heart condition is completely dropped. And without that interesting facet to drive The Get Out’s premise, the impact of an important conversation or potentially violent encounter is severely reduced. Instead of getting a thrilling experience that’s derived from this unique set of circumstances, the audience is left with the expected shoot outs and car chases this genre is known for.
The Get Out’s failure to stand out is compounded by how predictable it can be. It doesn’t take much to see how certain events will end; it’s obvious that the “Point Break” quoting, thrill-seeking loose cannon was going to accidentally shoot someone. And that’s to say nothing of how film’s characters are written to constantly make terrible decisions. If it isn’t Manco’s reluctance to take even the smallest of precautions to avoid getting robbed repeatedly, it’s the bumbling gunman named Jeff (Aaron Paul) who can’t seem to figure out that his life’s downward spiral is due to him trusting the most untrustworthy people ever. Basically, none of the bad stuff that happens to these people is surprising.
What almost saves The Get Out, aside from its engaging early moments, are the performances of its cast. Crowe’s gruff demeanor and (seemingly) heavy Albanian accent make Manco feel somewhat relatable. While his expensive suits and swank home allude to a higher social status, Manco’s rough exterior and “outsider” vibe is more akin to the people who frequent his club. Sunny and Manco’s relationship isn’t defined by their illicit activities. Palmer’s worried expressions and strong, but caring reprimands reflect Sunny’s love for Manco.
Aaron Paul and Nina Dobrev are convincing as would-be thieves Jeff and Carrie, and Josh McConville does a good job playing the corrupt detective Slosser. Luke Evans isn’t as memorable as Manco’s business rival Joe Carver; it’s not that he’s bad in the role, he just isn’t as impactful as one would’ve hoped. Still, given the talent involved, the entire cast contributes to The Get Out in a positive way.
The Get Out has a solid premise. Whenever it focuses on the ailing heath of its protagonist as he navigates trying circumstances, it shines. Unfortunately, it sidelines this interesting aspect for some typical, run of the mill crime drama. And while I was entertained at times, thanks to some decent acting and well-placed humor, The Get Out ultimately struggles to be greater than the sum of its parts.
Review screener provided.
REVIEW SCORE: 2.5/5
