The Get Out Film Review: Vintage Crowe

Not even Russell Crowe’s fun Albanian accent can lift action-comedy The Get Out from a poor script and two-dimentional characters.

Manco Kapak (Russell Crowe, of Nuremberg), an Albanian club owner in Los Angeles, suffers from a heart attack that forces him to reassess his life choices. With encouragement from his wife Sunny (Teresa Palmer, of The Fall Guy), he decides to sell the club, contacting possible buyer Joe Carver (Luke Evans, of Beauty and the Beast). In the meantime, Kapak is assaulted and robbed by Jeff (Aaron Paul, of Ash), a teacher being blackmailed by corrupt cop Slosser (Josh McConville, of Elvis). With Kapak owing money to gangsters and the walls slowly closing in, his way out of the gangster life seems to be shrinking by the minute.

Where the film falls flat is the decision to delve into Jeff’s improbable blackmail and even more improbable relationship with wannabe bank robber Carrie (Nina Dobrev, of The Bricklayer), who joins him in subsequent robberies. Jeff is being blackmailed by Slosser for college admission fraud, as Jeff failed to get Slosser’s son into the perfect college even after being paid to write the essays for him. Now, college admission fraud is certainly a crime that carries some level of prison sentence, but to say that you could hold this over someone to make them rob a vicious gangster club owner at gun point multiple times, pushes the audience’s suspension of disbelief to new levels. Not to mention that Paul feels terribly miscast in a role that should go to someone we associate as being more of an everyman, not someone whose most well-known role is a meth dealer.

For a film that supposedly takes place in LA, The Get Out never really convinces you that it is set there at all. Shot on Australia’s Gold Coast, it often feels more like a film set in Miami than the streets of LA. The production design never comes across as quintessentially LA; even Kapak’s beachside home looks more Australian than Californian. The cinematography isn’t anything to write home about either, and the score often seems out of place, most notably during the more dramatic and violent action sequences. By focusing on three different arcs, the pace of the film is quite jarring as well, with the feeling that all of the Luke Evans sequences are just added in to justify having a higher calibre actor in such a two-dimentional role. 

The script wears its influences on its sleeve, with the major nod to Sexy Beast’s fat and stubborn protagonist Gary Love, but the story decides to spend far too much time with too many other characters for the film to be a cohesive action-crime-comedy. The greatest decision the filmmakers made was to bring Crowe into this, as he is, without a doubt, the strongest aspect of this film. A more simplified version of the narrative that concentrated fully on Manco Kapak’s mission to get out of the crime business with his beautiful wife would have been a much more interesting concept, without all the other fluff of strange blackmails, corrupt cops, and sneaky FBI agents weighing it down.

The Get Out will be released in select US theatres on June 26, 2026 and on digital and on demand on June 30.

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