Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

trailer banner
Getting Out poster

Getting Out (1994)

Breaking out of prison with a child in her womb and a dream of a normal existence, Arlene Holsclaw (Rebecca De Mornay) resolves to get a job and lead a good, Christian life. But the ghosts from her past -- including an ex-boyfriend (Rob Knepper) who wants to pimp her out and a sadistic mother (Ellen Burstyn) who plots to take away Arlene's baby -- have other plans. This made-for-TV drama is based on Marsha Norman's off-Broadway play.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


Breaking out of prison with a child in her womb and a dream of a normal existence, Arlene Holsclaw (Rebecca De Mornay) resolves to get a job and lead a good, Christian life. But the ghosts from her past -- including an ex-boyfriend (Rob Knepper) who wants to pimp her out and a sadistic mother (Ellen Burstyn) who plots to take away Arlene's baby -- have other plans. This made-for-TV drama is based on Marsha Norman's off-Broadway play.

Rating:
Genre:Drama, Thriller, TV Movie
Directed By:John Korty
Written By:Eugene Corr, Ruth Shapiro
In Theaters:4/25/1994
Box Office:

Runtime:100 minutes
Studio:Dorothea G. Petrie Productions, RHI Entertainment, Signboard Hill Productions

Articles You May Like


'The Half of it' Handles its Presented Social Issues Thoughtfully

The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.

Andrea Amoroso