The Get Out Review
The Get Out will be released in select theaters on June 26, and on Digital and On Demand on June 30. This LA-set crime caper, starring Russell Crowe as an Albanian night club owner trying to retire from the money laundering business, is a misfire that fails to capture the charm and richness of writers like Elmore Leonard — or the style of filmmakers who have long admired Leonard, like Quentin Tarantino.
Before delving into the film’s shortcomings, it’s worth noting that Crowe himself is the most vibrant part of The Get Out. His performance as Marco Kapak, a man genuinely in love with his much younger girlfriend Sunny (Teresa Palmer), is a reminder of how fun he can be as a comedic performer. However, watching The Get Out may leave you craving a revisit to The Nice Guys, another film that features Crowe in a similarly charming role — and one that also leaves room for a potential sequel.
Kapak is a quasi-criminal in a world filled with more brutal cartel characters, and Crowe provides the best balance of tone in the film. However, The Get Out — originally titled Bear Country — feels like a mess, lacking the clever spark needed to justify its rambling plot. Directed by Derrick Borte and adapted from a novel by Thomas Perry, the film isn’t fun enough to warrant its ‘90s-style crime ensemble, nor are the moments of violence meant to contrast with its lighter elements captivating enough to add true excitement.
A Parade of Half-Measures
After a heart attack forces Kapak to rethink his current vocation, he sets his sights on a more relaxing future, away from the stress of his current life. This leads him to start making moves to sell off his club. Enter Aaron Paul’s Jeff, a character who is in over his head and forced to act as a sabotaging pawn. Jeff’s story is the least satisfying of the bunch, as Paul is given only constant anxiety and frustration to play, with no narrative reprieve.
The film also features The Vampire Diaries’ Nina Dobrev as a wild card bank teller who attaches herself to Jeff, adding yet another melodramatic bad thing to his already sad life. However, Dobrev is just given the “crazy” card to work with and a token pop culture reference to wear as her identity, which feels underdeveloped and unfulfilling.
Underdeveloped Plot and Lack of Surprises
The Get Out sets up a lot of moving parts, including Luke Evans and Josh McConville as different parts of the law enforcement spectrum, each with their own secrets. There’s the whispered promise of things colliding in a twisty, rewarding way, but the third act is pretty flat, and we’re never given a decent surprise or revelation.
With some format tinkering, The Get Out could have had some zigs and zags to make things more entertaining. Instead, we’re shown everyone’s hand when we meet them, and then we just watch them randomly succeed or fail. Crowe maintains his charisma throughout, but the story — which aims for the comedy of errors/serendipity circus vibe — is too dry and toothless.
Final Thoughts
The Get Out is a film that tries too hard to capture the essence of a classic crime caper but falls short in execution. While Russell Crowe's performance is a highlight, the lack of narrative cohesion and underdeveloped characters make it a difficult watch. It’s a film that could have been much more entertaining with a bit more creativity and direction.
