‘Get Away’ Review: Nick Frost Subverts Folk Horror

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As a film enthusiast with a penchant for dark humor and a soft spot for family dynamics, I must say that “Get Away” was a delightful surprise. The film’s unique take on horror genre tropes, combined with its clever commentary on colonialism and family structures, made it a refreshing watch.

In these horror stories, you often see characters from urban areas venturing into secluded, peculiar communities that are steeped in tradition and superstition. Movies such as The Wicker Man, Midsommar, Apostle, The Third Day, Wake Wood, The Lair of the White Worm, The Ritual, Dagon, Population 436, Offseason, and others fall into this category. These communities, which have been historically suppressed by centuries of Christian colonization, seem to take their revenge on the outsiders from the city who are considered more advanced. The latest film Get Away fits into this genre but offers a clever twist in its narrative and themes.

In a follow-up collaboration, Nick Frost stars in the movie “Get Away,” reuniting with director Steffen Haars. They previously made the unconventional film “Krazy House” around the same period. Unlike its wild counterpart, “Get Away” is less frenetic for most of its duration but remains entertaining. It leans towards a comical take on folk horror, maintaining an air of seriousness while creating tension and eeriness. Co-starring Aisling Bea, Sebastian Croft, Maisie Ayres, Eero Milonoff, and Anitta Suikkari, this film is set to premiere on Dec 6, 2024, offering a delightful horror experience, particularly for fans of Nick Frost and his work with Edgar Wright and Simon Pegg in the Cornetto Trilogy (“Shaun of the Dead,” “Hot Fuzz,” “The World’s End”).

Want to ‘Get Away?’ How Soon Is Now?

The title “Get Away” cleverly encapsulates the storyline, as it refers both to the family’s holiday escape (getting away) and their subsequent predicament of being unable to leave the island (being trapped). In this film, Frost portrays Richard, a cheerful father figure similar to the Griswold patriarch, who embarks on a vacation with his wife Susan and children, Jessie and Sam. The family, reminiscent of the normal, albeit amusing, Griswold family from the National Lampoon’s Vacation series, consists of a loving couple and two teenage kids who are not always enthusiastic.

Absolutely, the Smiths receive the standard warning not to visit the island, which is just one of many classic horror movie cliches that the film “Get Away” satirizes while remaining faithful. We witness an uneasy, eerie, and amusing scene at a diner prior to the Smiths embarking on the final ferry heading to Svalta, discovering that another won’t arrive for several days. However, what significance does this hold? (I promise to cease with the Smith puns as I understand they’re no longer amusing). They have already reserved a house on some common Airbnb-like platform for multiple days and are determined to unwind on the island, participating in the local community’s annual tradition.

Regrettably, the locals exhibit their resentment swiftly, pushing the Smiths to depart. To add insult to injury, the landlord they’re renting from is an uncomfortable oddball who seems suspiciously interested in the family’s private life. Matters take a turn for the ominous, following the conventions of folk horror – a decayed animal appears on their doorstep, whispers about a sacrifice linger, and so forth. The film Get Away succeeds in weaving this unsettling narrative effectively due to its self-awareness, brisk pace, and endearing performances across the board.

Fun Performances Lead to a Wild Ending

In a more simplified and conversational manner: The frost remains charmingly enigmatic, possessing a unique knack for being tender and endearing yet mysterious and formidable. Aisling Bea shines brightest as Susan, the matriarch. She beautifully portrays the authentic love between partners that anchors “Get Away,” and, unsurprisingly, manages to be funny yet again. Unlike many stereotypical movie moms, her maternal character is neither wasted nor diminished. Each character embodies familiar archetypes from the genre, but Bea’s portrayal of a mother stands out as refreshing and well-rounded.

Croft and Ayres share a strong bond as siblings who both irritate and feel at ease with each other. They display a hint of arrogance and skepticism, particularly Croft’s character Sam, who often clashes with the family group. The characters on the island are largely stereotypical, reflecting how such figures are typically depicted in horror films. However, Anitta Suikkari is humorously assertive, while Eero Milonoff is unpleasantly sweaty and grubby, creating an awkward duo that poses a threat to the Smith family on the story’s edge.

In a quirky, humorous build-up, the movie “Get Away” takes an unexpectedly intense turn at its climax. This finale is both brutal and comical, catching viewers off guard regardless of their expectations. It’s a refreshing shift from the expected scary elements, as the film’s humor and charming characters make it less likely to be frightening. However, “Get Away” isn’t a horror movie per se; instead, it creatively reinterprets what a frightening movie could be. Instead of aiming to scare, the film excels in providing an exhilarating experience with its action-packed, bloody, and zany third act. To get the most out of “Get Away“, it’s best to go into the film knowing as little as possible before watching.

A Unique Take That Ends Too Cleanly

Without giving away any plot points, it’s challenging to dissect the film’s perspective on colonialism and British society without spoilers, but let me assure you, Get Away offers a fresh perspective. Moreover, it’s intriguing how this movie challenges the traditional nuclear family structure as depicted in various media, similar to what Frost and Haars do in Krazy House. The film delves into the artifice of family roles (and the mimicry created by films and television) with a clever, thoughtful approach.

Without a doubt, the film Get Away is somewhat of a satire, which means it intentionally exaggerates or distorts reality for comedic or critical effect. This approach leads to a lack of conventional horror elements like major frights and complex side characters. Additionally, it may prompt you to think, “Well, this is a bit much, isn’t it?” as the climax unfolds with its high-energy flair. However, the film’s conclusion feels too swift and effortless for some viewers. Yet, it leaves you with a peculiar mix of amusement and discomfort, which is exactly what the creators intended. The movie Get Away is set to hit theaters on Dec 6, distributed by IFC Films and Shudder.

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2024-12-04 06:02