{"id":3064,"date":"2026-06-26T17:08:00","date_gmt":"2026-06-26T17:08:00","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3064"},"modified":"2026-06-26T17:08:00","modified_gmt":"2026-06-26T17:08:00","slug":"the-get-out-review-russell-crowe-and-a-game-supporting-cast-cannot-save-derrick-bortes-tonally-ambitious-crime-comedy","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3064","title":{"rendered":"\u2018The Get Out\u2019 Review: Russell Crowe and a Game Supporting Cast Cannot Save Derrick Borte\u2019s Tonally Ambitious Crime Comedy"},"content":{"rendered":"
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\n\tThe canon of popular American movies this side of the millennium counts several crime comedies in its ranks, among them Steven Soderbergh\u2019s \u201cOcean\u2019s\u201d trilogy, David O. Russell\u2019s \u201cAmerican Hustle\u201d and Shane Black\u2019s \u201cThe Nice Guys.\u201d Ten years on, that last film\u2019s star, Russell Crowe, headlines Derrick Borte\u2018s \u201cThe Get Out\u201d \u2014 a largely underwhelming reminder of the potential thematic richness of this type of cinema, and of how difficult it is to successfully pull off.\u00a0<\/p>\n

Read more Millie Bobby Brown, David Harbour Reunite After \u2018Stranger Things\u2019 as Father-Daughter Spies in Netflix Series From \u2018Enola Holmes\u2019 Writer Jack Thorne<\/a><\/p>\n

\n\tCrowe plays Manco Kapak, a nightclub owner from Albania who tells us, in an opening voiceover, that he has been happily settled in the United States for many years. Crowe seems a natural fit for a comic play on the clich\u00e9 of the heavily accented, unnerving Eastern European criminal: His ability to hint at violent undercurrents of rage, bubbling right underneath the surface of his unforced charisma, was already put to good use in Borte\u2019s previous directorial effort, the 2020 road-rage thriller \u201cUnhinged.\u201d Here, however, the joke is that appearances can be deceiving \u2014 or to be more specific, that trying to act like a character in a movie is a reckless, unwise thing to do. <\/p>\n

\n\tEarly on in the film, Manco suffers a heart attack while having sex with his girlfriend, Sunny (Teresa Palmer), but contrary to what the genre and character type might suggest, he is perfectly willing to slow down, change his eating habits, and sell his club to retire with his loving partner on a tropical island somewhere. Though he has been laundering a bit of cash for a cartel for years, he is no Tony Montana, greedily climbing to the top of the food chain and ruthlessly offing his competitors; some may see his relaxed approach to keeping a little money off the books as distinctly European, simply because it runs counter to the alarmist, moralizing rhetoric of so many American crime films.<\/p>\n

\n\tThe role thus draws more on Crowe\u2019s good-natured appeal, with his level-headed businessman the quiet eye of a chaotic storm. When, on his way to make a cash deposit at the bank, Manco is robbed one night by a masked gunman, he simply takes from his own cash savings \u2014 his emergency fund, if you will \u2014 to make sure the cartel gets the money they\u2019re owed. He doesn\u2019t panic, but everybody else does, and that is where his real problems begin: The cartel grows worried about receiving negative attention, terrified employees start acting out of character, and when Manco is robbed a second time by the same masked individual, things escalate even further.<\/p>\n

\n\tA crime story where the action is sparked and further spurred on by despair, incompetence, misunderstandings and sheer bad luck poses a challenge for a filmmaker. Torn between the seriousness of violence, and the comedy of failure and ineptitude, most directors find a way out of this conundrum by resorting to extremely dark humor. This is not an option for Borte, whose film is marked in its best moments by a refreshingly good-hearted tone and a positive view of human nature. Manco only reluctantly starts carrying a gun after his first robbery, concerned that doing so would only lead to more violence. When he notices that his employee has been snorting cocaine on the job, he reprimands him but does not threaten bodily harm. And when a young relative of the cartel boss forces him to get into a car with her, he successfully brings down the temperature of the situation.\u00a0<\/p>\n

Read more \u2018Ratatouille\u2019 Sequel Shot Down by Director Brad Bird Despite Pixar Interest; He Said to the Studio: \u2018We Told That Story\u2019<\/a><\/p>\n

\n\tHowever, this unexpected friction between the expectations of a violent crime tale and the protagonist\u2019s fundamental humanity requires tremendous skill for it to build a coherent tone and mood. Shot with none of the visual flair that made \u201cUnhinged\u201d effective, if not particularly striking, \u201cThe Get Out\u201d awkwardly veers between unfunny, crass humor, and a more unusual but flat sincerity. Most of the comedy lies in drawing out the characters\u2019 ridiculous attempts to fit into crime movie archetypes \u2014 but more than once, this only draws attention to the film\u2019s own failure to meet the standards of its genre. <\/p>\n

\n\tWhen Aaron Paul\u2019s Jeff attempts to make a suspicious deposit, the bank teller (a game Nina Dobrev) demands to be in on the deal, in the sort of neo-noir twist that could suggest a rich film world populated with bizarre freaks of all stripes. Instead, and through no fault of any of the actors, this development feels more like an implausible stretch and a cheap way to introduce more chaos into the picture. Likewise, the goofiness of Luke Evans\u2019 flamboyantly dressed nightclub buyer jars with the film\u2019s palette. <\/p>\n

\n\tFollowing a limited theatrical run, \u201cThe Get Out\u201d should easily find an audience on VOD thanks to Crowe\u2019s presence and to the general popularity and relative dearth of crime comedies. But despite its narratively and thematically intriguing set-up, the film is too sluggishly paced and anonymously shot to fully become the outrageous farce with a heart of gold it occasionally promises to be.\u00a0<\/p>\n

Read more Box Office: \u2018Supergirl\u2019 Takes Off With $7.8 Million in Previews<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018The Get Out\u2019 Review: Russell Crowe and a Game Supporting Cast Cannot Save Derrick Borte\u2019s Tonally Ambitious Crime Comedy<\/p>\n<\/h2>\n

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\t\tReviewed online, June 25, 2026. MPA Rating: R. Running time: 111 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \n(U.S.-Australia) A Vertical, Fifth Season release of a Nickel City Pictures, Higher Standard production in association with G2 Dispatch, Life & Soul Pictures. Producers: Mark Fasano, Jeffrey Greenstein, Deborah Glover, Mark Bower. Executive producers: Derrick Borte, Matthew Goldberg, Thayer Juergens, Danny Greenstein, Jamal Sannan, Jonathan Segal, Anita Verma-Lallian, Bruno Mustik. Co-producer: Ian Freeman.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector: Derrick Borte. Screenplay: Borte, Daniel Forte, based on the novel ‘Strip’ by Thomas Perry. Camera: Brendan Galvin. Editor: Mark Warner. Music: Bryan Senti.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nRussell Crowe, Luke Evans, Teresa Palmer, Danny Zovatto, Josh McConville, Ever Love Hope, Nina Dobrev, Aaron Paul. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Starring Russell Crowe, Aaron Paul and Luke Evans, Derrick Borte’s ‘The Get Out’ has an intriguing set-up, but is too sluggishly executed to take off.<\/p>\n","protected":false},"author":1,"featured_media":3063,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2557,2558,1280,2559],"class_list":["post-3064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-aaron-paul","tag-derrick-borte","tag-russell-crowe-2","tag-the-get-out"],"yoast_head":"\n\u2018The Get Out\u2019 Review: Russell Crowe and a Game Supporting Cast Cannot Save Derrick Borte\u2019s Tonally Ambitious Crime Comedy - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=3064\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Get Out\u2019 Review: Russell Crowe and a Game Supporting Cast Cannot Save Derrick Borte\u2019s Tonally Ambitious Crime Comedy - 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