GET AWAY IF YOU CAN
Hopeful that an open-ocean sail might relight the spark of their passion, a troubled married couple (played by filmmakers Terrence Martin and Dominique Braun) hits a breaking point when one’s refusal to explore a foreboding deserted island sends them on a deep internal journey that will require drastic decisions in order to survive.
With a title like Get Away if You Can, I sat down expecting a 90-minute sea-set thriller with the potential for a high body count. Instead, I was treated to a thoughtful meditation on love, purpose, and gender.
Co-directors (and real-life spouses) Dominique Braun and Terrence Martin star as a married couple on a solo sailing trip. The journey is long, and the destination is unknown, but Martin’s TJ is in a hurry to get them there. When he resists his wife’s request to take a few days to explore a deserted island, things quickly spiral out of control.
The filming locations are stunning – the filmmakers deftly navigate the cramped interiors and deck of the sailing yacht, giving a sense of scale and place at all times. The island drawing Domi’s (Dominique Braun) attention might be part of the “islands of despair”, but it is truly gorgeous. As in, I can understand having a fight with your spouse over an island like this. If despair looks like this, sign me up. Scenes away from the boat and island are purposeful, and further our associations with the two leads. Through flashbacks and phone calls, Domi’s world is shown to be lush, green, and free. TJ’s flashbacks, on the other hand, are grounded in steel, machinery, and work. The settings smartly reinforce the opposing dynamics pulling at the two lovers.
Since much of the film’s plot finds TJ and Domi in conflict, we don’t get to see much direct chemistry between the two leads. Braun’s Domi has a heavy load to carry, and we feel her appetites and frustrations. Martin’s TJ is given less to work with, expressing his frustrations by guzzling red wine and gorging himself on saltines. Ed Harris gives a compelling supporting turn as Alan, the father of Martin’s character. Alan is a stern man from a military background. But, more than this, he seems to embody toxic masculinity itself. Harris’ restrained physical performance speaks volumes – this is a man who can make chewing a piece of steak simultaneously hilarious, intimidating, and hostile. Harris’ energy lurks even in scenes where is physically absent.
I found the film’s climax to be brave and thoughtful. You may not agree with the choices the characters make, but you can understand the journey that has brought them to that moment. Despite some choppy waves, there’s ultimately a lot to like about this boat trip.
IN SELECT THEATERS AND ON DIGITAL
Friday, August 19
Los Angeles, CA // Laemmle Monica
Colorado Springs, CO // Icon 14
Middletown, DE // Westown Movies
Rogers, MN // Emagine Rogers 18
Chicago, IL // Cinema 14 Chatham
Birmingham, MI // Emagine Palladium 15
WRITTEN AND DIRECTED BY: Terrence Martin and Dominique Braun
STARRING: Terrence Martin, Dominique Braun, Ed Harris, Riley Smith, Martina Gusman
EXECUTIVE PROUCED BY: Andrew Davies Gans, Cary Wayne Moore
PRODUCED BY: Terrence Martin and Dominique Braun
CINEMATOGRAPHY BY: Lucio Bonelli, Michael Lockridge, Guillermo Nieto
EDITING BY: Russell Lichter, Andrés Quaranta
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Performances sell this film. Matthew Finlan at Gunnar with a slimy rich kid flair that makes him supremely punchable. Rossif Sutherland‘s genuine vulnerability in grounds the chaos. With the audience’s knowledge, his performance is one of the most important in the film. Julia Stiles is mind-blowing as Tricia. I’ll only reveal that the rollercoaster of this role is delicious, and I did not see it coming.
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Simon Rex brings a brilliant eccentricity to Luca. Patti Harrison is hilarious as Mack’s agent, Stephanie, especially since 75% of her role happens via facetime. Sharp-eared cinephiles will catch a voice cameo from Martin Short, bringing Father Of The Bride costars back together for a trippy encounter.
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The seemingly simple premise becomes one of the most intense and harrowing films I’ve ever seen. I didn’t have a fear of heights before 
The screenplay by Mann and 
The sometimes sparse, menacing score by 
David Leitch’s Bullet Train is not high art, but it’s a damn fine way to spend 126 minutes. There are times in life when you might order a side salad with your meal, but we all know what your heart really wants is the fries. Well, Bullet Train is what happens when the fries are the centerpiece of the meal. It won’t inspire deep revelations about the human condition, but it is a flashy and fun journey that satisfies (just don’t pretend it’s something it’s not.)
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Kota Eberhardt, as Desi, holds her own against Krige. Her presence is equally as fierce as her costar. Something about her performance demands your attention. Eberhardt could easily carry a film on her own. Alice Krige is the epitome of genius as Veronica Ghent. The nuance she radiates is breathtaking.
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