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Thread: Jordan Peele's Get Out (Merged)

  1. #21

    GET OUT (2017)

    They don't make them like this anymore and if you're a fan of the way they used to make 'em this may be the best horror movie you've seen in years.

    The setup: A young black guy is taking a trip out to the country to visit his white, preppy girlfriends family in their extremely white neighbourhood. There's lots of awkwardness as the whites assure him they are big Tiger Woods fans and how they would have voted for Obama for a third term if they could have. Which is all good funny stuff. As you go though things get increasingly creepy and our young hero starts feeling a desperate need to escape.

    It's a similar setup to, say, The Stepford Wives but it's edgier, cleverer and funnier than any films in this genre I can immediately think of. A really nice building-paranoia film told in a restrained, patient way with a lot of humour.

    There's a couple of moments at the end where I feel it loses it's nerve and doesn't quite follow through the way it should. I don't want to add any spoilers but there's an obvious ending to this story that feels a bit more poetic and in tune with the themes of the film. Maybe a lack of balls from the filmmakers or maybe it was because, like I said, the perfect ending is a bit obvious... and it has a good ending anyway so I should quit my bitching on what is definitely the front runner for film of the year for me.

  2. #22
    Quote Originally Posted by Dom D View Post
    They don't make them like this anymore and if you're a fan of the way they used to make 'em this may be the best horror movie you've seen in years.

    The setup: A young black guy is taking a trip out to the country to visit his white, preppy girlfriends family in their extremely white neighbourhood. There's lots of awkwardness as the whites assure him they are big Tiger Woods fans and how they would have voted for Obama for a third term if they could have. Which is all good funny stuff. As you go though things get increasingly creepy and our young hero starts feeling a desperate need to escape.

    It's a similar setup to, say, The Stepford Wives but it's edgier, cleverer and funnier than any films in this genre I can immediately think of. A really nice building-paranoia film told in a restrained, patient way with a lot of humour.

    There's a couple of moments at the end where I feel it loses it's nerve and doesn't quite follow through the way it should. I don't want to add any spoilers but there's an obvious ending to this story that feels a bit more poetic and in tune with the themes of the film. Maybe a lack of balls from the filmmakers or maybe it was because, like I said, the perfect ending is a bit obvious... and it has a good ending anyway so I should quit my bitching on what is definitely the front runner for film of the year for me.
    Already a topic for this movie: http://www.rockshockpop.com/forums/s...l=1#post150042

  3. #23
    Uh, damn couldn't find it. The words get and out were apparently to common for the search engine and searching "get out" doesn't work either. I've noticed recently that using +, - and "" symbols don't seem to work in search engines anymore.

  4. #24
    Quote Originally Posted by Dom D View Post
    Uh, damn couldn't find it. The words get and out were apparently to common for the search engine and searching "get out" doesn't work either. I've noticed recently that using +, - and "" symbols don't seem to work in search engines anymore.
    Yeah, the search engine can be wonky. And, the topic has already been merged once. But, hey, we agree that the ending wimps out!

  5. #25
    Intellectual Carrot Scott's Avatar
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    I liked it, a lot. It's definitely been overrated by people who haven't seen these tricks before, or seen the STEPFORD WIVES or the original NIGHT OF THE LIVING DEAD. But it is original in it's mixture of things we've seen before.

    It's provocative in that it challenges the audiences preconceived notions about race. The white people in this movie are evil and they are targeting black people, specifically to use them. Like how the STEPFORD WIVES is provocative about sexism. Sure it's a class thing too. But that's where his friend the TSA agent comes in to be the greek chorus, and spell it out for everyone. The audience laughs instead and says it's fine. But it turns out the joke about a black man dating a white woman is not only true, but much worse than anyone could possibly conceive. Cringe and laugh.

    It's not saying all white people are evil. Just the ones in this tale. Written and directed by a black man, starring a black man. Which is a rare thing in this genre.

    The Key and Peele Show is similar to this movie in a lot of ways, using humor to play with racial expectations.
    "You're just gonna grow up to be another Fogerty!"

  6. #26
    I'm surprised a few of you are rating Stepford Wives as a better film. I haven't seen that one in a while but I recall it as merely a good, solid thriller. Nothing anyone is getting too excited about. I remember it as being monotonal, which is easier to pull off, and thematically a lot simpler and less daring than Get Out- though I do feel Get Out pulls it's punches to risk offending people at the end. Goldman, who wrote the screenplay for the Stepford Wives, wrote a fairly entertaining bit about why he felt that film was a misfire. In Goldman's script the wives were sexbots. The director though cast his wife in a main role and the idea of them being sexbots went out the window. I can't remember the exact quote but it was something along the lines of: "if you're so terrified of women that you're willing to spend the rest of your fucking a piece of plastic instead then that piece of plastic is not going to look like Nanette Newman." Which is a bit harsh but I guess fits the themes of that film.

  7. #27
    Quote Originally Posted by Dom D View Post
    I'm surprised a few of you are rating Stepford Wives as a better film.
    Speaking for myself, I was using STEPFORD WIVES as an example because GET OUT Director Peele himself cites it as a template for his movie. And, it also re-inforces my point that GET OUT wimps out in the end. If you are going to make a cautionary tale (see also the most famous example, Orwell's 1984), you can't pull your punches at the end. GET OUT is more entertaining that STEPFORD WIVES, but, the gutless ending will prevent the new movie from becoming part of the lexicon like STEPFORD or the Orwell classic. It will be remembered, if at all 40 years from now, for making a pile of cash. The ending 'succeeded' on the commercial front, but falters on the artistic one.
    Last edited by JoeS; 06-13-2017 at 12:12 PM.

  8. #28
    Vortice Mortale - The Lost Highway of Horror and Cult Film

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