A Perfect Getaway (Soundtrack) by Boris Elkis - Reviewed

Oh. Think Twice.

Review by Christopher Coleman

A honeymoon in Kaui? That would likely fit the bill for many of us as something we might call "a perfect getaway." What's not to like? The unfathomable blue of the ocean, lush, tropical flora and fawna, cool sea breezes, your new spouse all aglow with honeymoonness; wandering, shape-shifting, psychopathic killers. Ok. That last one might ruin things just a little bit. Well this is the basic plot of director David Twohy's latest project so aptly titled, A PERFECT GETAWAY. Twohy is perhaps best known for two projects: PITCH BLACK and its sequel, THE CHRONICLES OF RIDDICK. While the one became a cult hit, the latter tripped over itself in it's desire to flesh out the larger world introduced in the first film. In both cases, composer GRAEME REVELL was selected by David Twohy to deliver his usual blend of the orchestral and the electronic. Of late, it seems that Revell has opted for television-scoring gigs with series like ELEVENTH HOUR and DARK BLUE. Perhaps Revell's busy schedule opened the door for long-time assistant composer/programmer, BORIS ELKIS to take on the full composing reigns for A PERFECT GETAWAY instead.

David Twohy's late-Summer entry tried ever-so-hard to stir things up at the cineplex, by delivering a thriller that jostled the brain as much as the stomach. You see. There have been some mysterious deaths on this beautiful island and we are taken on a journey of finding out not only who the culprits are, but what has lead them down this dark and disturbing path. A PERFECT GETAWAY is essentially a whodunit, or better, a "who'sdoinit?" that makes an effort to "big-twist" unsuspecting audiences. Ah. Nothing is ever as it seems...even in a place as beautiful as Hawaii. Perhaps Mr. Rourke and Tatoo retired there after their Fantasy Island days, but just couldn't help themselves to a little nostalgic-fantasy-twisting. The sad thing is that Twohy attempts to subtly lay down clues as to the twist that is to come, the film's title itself being among them, but even the most general of audiences pick up on such hints and, by the time the twist actually makes it to the screen, are sitting there, like a catcher waiting on the break of a curve ball. We, the audience, have fully anticipated the whole thing from very early on. While beginning as a beautiful, postcard, A PERFECT GETAWAY devolves into the battle-royal version of Survivor by it's conclusion. Of course this progression of story is closely followed by the film's score, thus giving composer BORIS ELKIS a good opportunity to provide music that equally evolves...or devolves.

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