The Getaway (1972)
Directed by Sam Peckinpah
A recently released ex-convict and his loyal wife go on the run after a heist goes wrong.
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What critics compared The Getaway to
But unlike the adrenaline junkies in “Bullitt” and Peckinpah’s “The Getaway,” he doesn’t make a conspicuous display of speed; he doesn’t “gun it” and leave a mile of rubber.
Like Peckinpah--the genius filmmaker behind such classics as "The Wild Bunch" (1969) and "The Getaway" (1972)--Refn understands the menace of sensuality and the sexiness of machines.
It's telling that in Sam Peckinpah's 1972 film of The Getaway, the entire El Rey ending is junked and replaced by a scene where Peckinpah has Steve McQueen blowing away scores of bad guys in the director's trademarked slow motion.
I kept expecting something like the conclusion to the wonderful 1972 Sam Peckinpah movie “The Getaway” based on a Jim Thompson novel.
Like the often-filmed Jim Thompson novels ("The Grifters," "The Getaway," "After Dark, My Sweet," among others) of which it is a knockoff, "U-Turn's" John Ridley script places a drifting stranger who thinks he's wised up in a situation that runs the gamut from garden-variety criminality to the purest evil.
Baby Driver lands somewhere in the area of Peckinpah's The Getaway with its nasty rogue's gallery and Hill's The Driver with its enigmatic hero and his way with cars before sliding off the rails at the end, which feels like, of all things, the climax of Christine.
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Hill leeches the notion of underworld loyalty out of the Pickup on South Street homage (Ronee Blakley in her hotel room) and reclaims his own bit of business from The Getaway (a valise of money in a train) to lend it metaphysical heft.
Anyone who has seen the Hill-scripted The Thief Who Came to Dinner (directed by Bud Yorkin) and The Getaway (Sam Peckinpah) will be hard-pressed to ignore that the new picture doubles back over much the same ground.