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Well I thought this movie might have been more effective if it came out in the 90s, which had a lot more racial tension in America, with the Rodney King and OJ Simpson events. However, is racism in the US still that big of an issue today, or are black people afraid of the white race at all in general still?
Yes. And Peele wanted us to see the subtle kind that is still awful as I have posted 2-3 times now, and linked to the interview the first time.
Yeah okay, I should have payed more attentions to those posts before, sorry. And I do think it's an overall good movie, I just don't see why it's one of the best of year, when it's more of a B movie it seems, but a good B movie still.
Yeah okay, I should have payed more attentions to those posts before, sorry. And I do think it's an overall good movie, I just don't see why it's one of the best of year, when it's more of a B movie it seems, but a good B movie still.
So much of it is the level of expectation that we come with. I had none. Well, I had your post telling me it would resemble Stepford Wives, which intrigued me. I don't see movies until they come to streaming, so often, I don't remember much from even the trailers except remembering if I thought it looked good or not. I don't read much about it on purpose so I don't have it ruined.
So, for me it was a blast. And I think it was well done. I watched the bingo scene again and even though it was so short, it was so powerful. Wondering for a minute what this silent 'bingo' game is about, then the pan out to Chris's photo, I was like no, no! And then, uh-huh, yeah, this is what is happening right now! *shivers*.
I love the actor that plays the Dad, and I think he did very well. Will it go down in history? I don't know. Was it awesome? For me, yes. Glad I did not hear too much hype or red herrings about how intensely racial it was supposed to be beforehand.
The racial stuff was certainly there, and I didn't fail to grasp exactly what Peele wanted me too, but I also just was able to be caught up in it all. Because the horror/thriller part would have been the same if the victims were white.
Yeah fair enough. I felt I saw the twists coming a mile away, cause as soon as I saw the first black guy at the house, acting strange, I thought to myself, Ohh I bet this going to be like The Stepford Wives, but with brainwashed black people, and I was completely right in my guess.
I actually liked the Dad as well and thought he was the most entertaining character perhaps.
Yeah fair enough. I felt I saw the twists coming a mile away, cause as soon as I saw the first black guy at the house, acting strange, I thought to myself, Ohh I bet this going to be like The Stepford Wives, but with brainwashed black people, and I was completely right in my guess.
I actually liked the Dad as well and thought he was the most entertaining character perhaps.
I don't think they were trying for twists in that aspect. They purposefully made it 100% obvious from the start. The SW feeling was apparent ASAP, but the fun was in the details that differ from SW. To me being in the 'sunken place' is far worse than death, as in SW.
You seem hung up on wishing the movie had fooled you. But there were plenty of details no one could see coming. Surely the vast majority of people thought they were 'merely' hypnotized. I would have if I didn't see the spoiler.
You're saying you knew that they actually took away their brains except for the stem?
I fell in love with Bradley Whitford as Josh in The West Wing. Sort of hard to see him evil, but he did it well.
I didn't see the brain thing coming, that part was surprising for sure.
I am not saying I had to be surprised, I just thought the villain's plans were overforeshadowed a lot with the creepy suspense music playing, every time a black character appeared on screen, and how the director shot the black characters with barrel distortion in the lenses. It felt like they were trying to shove it in the audience's face that something is wrong with the black characters, rather than pulling back, and lightening up on the creepy musical changes, and just letting the audience figure things out for themselves.
I didn't see the brain thing coming, that part was surprising for sure.
I am not saying I had to be surprised, I just thought the villain's plans were overforeshadowed a lot with the creepy suspense music playing, every time a black character appeared on screen, and how the director shot the black characters with barrel distortion in the lenses. It felt like they were trying to shove it in the audience's face that something is wrong with the black characters, rather than pulling back, and lightening up on the creepy musical changes, and just letting the audience figure things out for themselves.
You're getting way too fixated on "the twist" and the use of foreshadowing. Read or watch any interview with Jordan Peele, and he's the first to say that he wasn't trying to be subtle. Everything you mentioned was intentional. He was using the horror genre to make commentary about the current state of race in America. You don't have to like the movie, but you're not nominated for Golden Globes, BAFTAs, SAG or Academy awards.
I'm not saying it was a bad movie at all, I think it works as a horror B movie with what Peele was trying to do, I just don't get why it's nominated for so much and do not understand this much hype, cause usually the Academy and Golden Globes do not pick B movie types for best picture of the entire year.
I'm not saying it was a bad movie at all, I think it works as a horror B movie with what Peele was trying to do, I just don't get why it's nominated for so much and do not understand this much hype, cause usually the Academy and Golden Globes do not pick B movie types for best picture of the entire year.
That you're not getting that it's beyond being B-level horror is your problem. You're on the internet--you can do a little research:
Get Out was important for its content. Award season contenders and winners are often movies with a message, but for once this was delivered not in a pandering or preachy way, but in a sneaky, shocking and gut-wrenching manner.
Instead of creating a big-screen think piece about what it's like to be a black person in a white person's world (which he would have been totally justified to do), Jordan Peele delivered his thesis with humor, gore and in a way that would ensure even the wokest citizen left the theater feeling shook.
Get Out is the perfect example of a horror film that fits the spirit of Oscar-winning horror films of the past: It has great, attention-getting performances and a stellar box office, and while it doesn’t feature a woman on a rampage or a creepy kid, it’s centered on the fear, rage, pain, and power of people of color, just as films like Rosemary’s Baby, Carrie, Misery, and Black Swan have centered around the fear, rage, pain, and power of women.
It came out of the studio system and made it into the awards race through sheer force of will. It’s a movie about modern-day racism told not through parable or allegory but about, from and for actual members of that demographic. And, if we want to talk about the cultural issues that got us into this current planet-imperiling mess, the short answer is racism, sexism, racism and/or racism. Get Out offers a specific portrait, where the villains are seemingly progressive folks no less, in a tale that doesn’t set itself in the past for the sake of “Hey, folks back then sure were more racist than I am today!” false comforts.
It’s a fully original, responsibly-budgeted genre film from an exciting new filmmaker, distributed by a major studio (Universal/Comcast Corp.) earlier in the year than any Best Picture nominee in 26 years. It’s an of-the-moment story about the defining issue of our time (our history?). It rode rave reviews and white-hot buzz to a stunningly leggy theatrical run that offered hope that mainstream movies could still matter in the real world as well as pop culture.
Okay thanks, I read the articles. But I think they are overpraising the movie without really talking that much about the weaknesses of it from what I'm seeing.
Now don't get me wrong, I still think it's a good movie, I just don't see it as a great masterpiece that deserves best picture, unless it was a really bad year and no one else made a movie of higher aspirations.
Now this movie has a really good idea, which is combining The Stepford Wives with Guess Who's Coming To Dinner. It's a great idea, I just feel like the execution was really conventional. Like the plot was forgettable in the sense that the third act especially is very conventional.
Once the main character finds out what is really going on and is captured, all he does is kill everyone and escapes, and that's it for a third act. Lots of really great thrillers will have more surprises, more double crosses, and bigger character arcs, compared to this. The themes of racism in the movie are good, but the plot just feels very conventional, like the plot of say Breakdown (1997), for example, where it's just kind of a routine thriller structure, and just not very memorable in the end. It just feels that Jordan Peele could have pushed a lot further rather than wanting to make an intentionally conventional movie to say what he was trying to say.
But I feel that racism towards African-Americans itself has become a really old theme to tackle in movies cause we have seen it so much before. The Academy always picks movie about racism towards African-Americans, like it did with Django Unchained, 12 Years A Slave, Moonlight, etc. So if you have movie with racism against African-Americans, the Academy is always going to eat it up.
Don't get me wrong, it's am important issue, but I feel that it's been done to death and the Academy doesn't have to pick these movies every time, especially if it has more conventions in it.
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