“…the major difference between movies that make money and movies that make real money is repeat business. A Perfect Getaway should make a killing, because audiences will be heading back before the credits are over just to see if the damn thing made any sense. “
That’s from the Washington Post review. And it’s true (except for the part about A Perfect Getaway making any money.) I almost don’t want to think about what I think about this movie before seeing it again because there are certain things that just can’t possibly make sense given the ending, despite the infuriating grainy black-and-white recaps movies of this ilk are apparently contractually obligated to do. But it seems almost as unlikely that something otherwise so competently done would allow such glaring inconsistencies to exist. As it stands now anyway, A Perfect Getaway, whether you see the “twists” coming or not, is a fantastic thriller that doesn’t seem to need any of the tired trappings that sort of description tends to accompany.
And it shouldn’t really come as much of a surprise. Writer/director David Twohy (Pitch Black, Below) gives us one of these every few years. Under the radar genre movies with semi-stars somehow coaxed into doing something different and yet still doing what they do best. In fact the only misstep he’s had came as a result of the temptation to establish a bloated franchise in The Chronicles Of Riddick. A Perfect Getaway is about as far from that as he can get.
There are some annoying things floating around, such as the constant talk of screenwriting (or screenplay writing as Timothy Olyphant’s Nick likes to call it), but equally as annoying is how these things become important and integral to the story and make you feel just a little bit stupid for questioning their inclusion the whole time. But even were they not addressed and left to infect the rest of the movie, there’s enough that you might not have cared. From the painfully accurate wedding video testimonials to the infuriating choices of etiquette over survival made by newlyweds Cliff and Cydney (Steve Zahn and Milla Jovovich) there’s nothing that seems false or forced, even as events grow further and further from any kind of reality. None of the red herrings (or red snappers as Nick insists they’re called) are terribly convincing but you believe they believe it, and that’s all that matters.