http://io9.gizmodo.com/jordan-peele-made-a-racially-charged-psychological-thri-1787417557?utm_campaign=socialflow_io9_facebook&utm_source=io9_facebook&utm_medium=socialflow

Most of us know Jordan Peele as one half of the comedy team from Comedy Central’s Key & Peele. We expect to see him in crazy comedies like Keanu, which came out earlier this year. But next year, Peele steps behind the camera for a psychological thriller he both wrote and directed.

It’s called Get Out and Universal just announced it’ll be out February 24. Check out the creepy first trailer.


~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

Mostly because I've got a couple of racially charged horror specs out there, and if this turns a profit, then the people telling me they like it but they're trying to avoid projects with cops and race right now might reconsider, lol.

good luck
but people arent logical esp when it comes to cops and the military looking bad in this country

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

Can't imagine this cost too much since Blumhouse's M.O. is to make stuff on the cheap. And with the Universal deal, it should be getting into a good amount of theaters.

I love that they cast Allison Williams from Girls as the girlfriend. Seems like perfect casting about entering an all-lily-white sphere.

The hard thing about films like this, and what's always made me struggle to be happy with my own race-based horror/thriller script, is keeping the message and the narrative on the same page. Trying to build to a climax often pulls you off message. Poorly chosen analogy ahead but you're basically trying to work for two masters. I'm interested in seeing how Peele pulls this off.

And, as usual, I fear the trailer showed too much but I'm still down.

BLACK HORROR/THRILLER....

i'm actually rooting for this
and I'm not a horror fan
but this?
i'm IN
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

Peele's in an interracial relationship with a fairly visible comedienne should make for some interesting press junkets. I wonder if the comedienne will respond to any possible questions or crack jokes on twitter.

I think I'll watch this to show support since this is a pretty creative concept. Would be interesting if Peele is better creatively with dramatic works than his comedic efforts since the Key and Peele stuff isn't always that funny and/or interesting to me.

https://twitter.com/tonestradamus/status/783723731810213888

See y'all. You gotta be careful with white people.
There's a lot to digest here, but my nigga Jordan crafted a great horror comedy on race.
I walked out scared and paranoid b. Especially under Trump's reign.

I'm there opening weekend.

No lie. Jordan Peele did his thing with this movie. It's a straight up horror flick with the right amount of humor, frights and genuine "WTF?". Lil Rey Howrey stole the film and Daniel Kaluuya was great.

>

So good. Kind of felt like a classic episode of Black Mirror or Twilight Zone. Daniel Kaluuya delivers again. LilRel Howery almost steals the film. The cast in general kills it. STRONG directorial debut from Jordan Peele. Some people in the theater were disappointed it wasn't more of a comedy. I mean, it's got more funny beats than your standard Blumhouse production but it's definitely more of a psychological horror/thriller than a comedy.

I really enjoyed it.

really liked it

Get Out Film Review

Is Get Out a masterpiece film that deftly balances humor, horror and racial commentary? We discuss Jordan Peele’s directorial debut in a spoiler-free AND spoiler filled edition of the Just the Two of Us Podcast.

0:00: Spoiler - Free review

29:34: Spoilers Zone


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To me this movie is about the weaponization of White Femininity.

And it was set up early from the couples interaction with the cop.

Up until it was completely clear that Ole White Girl was in on it, we (the audience) were holding out that maybe she wasn't (if only she can find her keys!)...because of our conditioned expectation of white woman innocence.

That shit was the perfect metaphor for people making excuses for Melania Trump.


The other great example is how she so perfectly flipped the call from from Lil Rell. Dude knew he had her and was going to bust her on tape and all she had to do was starting talking about how he wanted her and his whole shit backfired.

That shit was so perfectly building up until we were all expecting brah man to go down in bullets when the police rolled up with his hands around her throat and her begging for help.

So Glad Peele flipped that our expectations for the ending.

I was hoping dude would run over the girl on the way out but my wife thought that'd be too much.

Anyway, wonder how Chelsea Peretti likes the film?



**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

I was thinking maybe he'd have another flashback of his mom and couldn't leave her half alive in the road... so they ran over her. In hindsight, probably better to make the audience feel crazed and want blood and he takes the more humane route. But I almost hurt my face I smiled so wide when the door opened and I saw "Airport"

And yeah, I thought they might make it like the girlfriend was hypnotized in order to go along with it but I was actually hoping that wouldn't be the case since it was a harder sell and no need for any of them to be the good guys. (Although in horror cliches, maybe it should have gone that way, then she gives evil look to camera and the sequel is set up.)

Once Chris was in that TV room, I was rooting so hard and terrified they weren't going to have a happier ending. I almost yelled at him when he took the cotton out of his ears.

when TSA breh showed up

Dude being TSA was so perfect. There is no blacker job in law enforcement than TSA and TSA has literally never saved the day.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

>
>Anyway, wonder how Chelsea Peretti likes the film?
>
>

Peele is the man for this one.

Albeit one that's not funny.

This place clearly has an axe to grind against Black film.
Can't you tell?

>This place clearly has an axe to grind against Black film.
>Can't you tell?

The praise is strong in here, but tepid and late compared
to the reaction overall

It's the most important, creative, dynamic movie in many
years. Many.

Ive seen wack Tarantino movies with almost as much praise in
PTP. This movie is like, what Tarantino could have dreamed,
X 300000000000000000

And the only reason the praise is strong at all is that
the world responded so positively, so quickly

If there was ANY negative response in the real world,
then PTP would have did the standard black pile on, while
praising wack Taratino "Macguffins"






----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

I enjoyed it because it didn't depend on gory details. I also liked that comfort is important for black survival. I did not feel comfortable the moment he left his hood. Despite how beautifully serene and upscale the home, I couldn't help but connect with his difficulty to relax or sleep.

Peele did steal the ending storyline of from Skeleton Key, which was way scarier.

I did think about Skeleton Key immediately after that reveal. Loved the film anyways.

As a horror movie 3.5 because the more I think about the more I have questions

Spoilers below.



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.
.
.




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I don't know what this movie wants to be. Does it want to be Hitchcock, cabin in the woods, invasion of the body snatchers ... what does it want to be?
Because it tries to be all, and each of those has different effects to achieve the end goal. And while all art is sampling, taking pieces and making it uniquely your own is part of that.
So to have his friend character be so over the top comic relief really takes you out of the fear that you're experiencing. His dejected looks are different.


*spoilers again*















When he's in the car at the end versus when he's in the chair. And you're not at all connecting with him. So what does this movie want to be?
Meanwhile what is going on with this story
The founders and creators of the technique perfected it to be house servants in the end? What?!?
Semi famous people go missing and nobody follows up on that case? To the point that she's binging top NCAA athletes? If Lonzo Ball goes missing, we'll never hear the end of it.
The four months versus five months time difference is mentioned but not highlighted to show the priming brainwashing their relationship may have had?
There's black people hanging out with white people and nobody ever has to take a picture wth flash before?
All of the pictures in a red box get replaced and rehung within hours for what purpose?
How'd you find me was never answered
The mysterious short battery long battery life is a convenient plot device
And just more.

The second I step outside of the "white people are scary as all fuck" window I don't have much of a space to be in. ,

Just as Twilight Zone or Black Mirror allow for different takes and no set genre, I think "Get Out" set out to be its own thing. Clearly, it accomplished its goal for most viewers so I don't see the point or benefit of trying to reduce it down to a comparison to other films or fit it into a specific genre. It didn't say, "Well, Rod is too silly so we can't have that because this is a scary movie." I think it balanced his over-the-top character well and it worked and didn't take me out of the film.

As for the specific questions:
- "The founders and creators of the technique perfected it to be house servants in the end? What?!?"
I think they were just doing that to hide from Chris. My assumption was that, once Chris was gone, they would have filled the usual grandparent role in the family.

- "Semi famous people go missing and nobody follows up on that case? To the point that she's binging top NCAA athletes? If Lonzo Ball goes missing, we'll never hear the end of it."
Agreed. That was there for a joke but it didn't make much sense in terms of trying to keep a lower profile or kidnap people that wouldn't be immediately recognized. But it got a laugh in the theater so I think it accomplished that goal, although it seems silly in hindsight.

- "There's black people hanging out with white people and nobody ever has to take a picture wth flash before?"
If the white people knew that the flash would set the morphed people off, not hard to see how they could avoid flashes on cameras.

- "All of the pictures in a red box get replaced and rehung within hours for what purpose?"
This is getting a little nit-picky IMO. For what purpose? She was clearly unhinged. It was unnecessary but it made for a cool visual. It's like people writing on mirrors or windows or countless other things in movies that don't make complete sense but look cool.

"How'd you find me was never answered"
Not sure it needed to be. Had he explained it, it wouldn't have improved the movie in any way. And not hard to assume that Chris had the address on his computer.

That the tones clash. That the movie doesn't have to be on thing or another, but that the elements it borrows contradicts. The humor in Cabin in the Woods works because it's a meta criticism. The humor in Nightmare on Elm Street works because Freddy is deranged. The humor doesn't work in this film, because his friend is almost a parody of a character. The film world that exists has one person dealing with abandonment, identity, and trauma all through facial expressions and his closest counter part unable to step outside of the silly part. His one part where he shows real concern is when he calls in response to the text. But hours later..

*spoilers*




















He's driving through the country, in the dark, comes across three two dead bodies, a car wreck, his bloody homeboy choking out a dying white girl and he has ... jokes. What world is this? And his jokes take away from the character, Chris at one point tells the white girl she's all he has, but he has a great friend that he calls instead of texts, a dog at home, clearly a social group that used to rock with each other ... so at the end is he recognizing that? I can't answer that, because we got him staring despondently while his buddy is making the audience laugh.

The person coming to the rescue at the end and then kind of not fully taking in or commenting on the horror of what they're seeing happens all the time.

I also didn't have a problem with Rod anymore than I had a problem with Jamie Kennedy in Scream. They were somewhat over-the-top characters for a purpose (comedy/meta-commentary) but personally, I didn't think they took away from the movie at all and in fact, I think they added to it.

In terms of tone, it's subjective. It totally worked for me. The only scene I really would have directed Rod differently might have been the cops scene. He was still too comedic. He should have been more focused on getting help. His delivery was too calm and jokey. Beyond that, I think "Get Out" nailed the tone. And I assumed the world was heightened reality so I wasn't expecting realism.

I mean, the twist of the film was a medical breakthrough brain operation that these people were doing in their basement.

But with scream we saw what it wanted to be. There are some tropes that establish what the movie is. The nod to the audience that everything is ok in the end. Those are the box office movies. They make money and entertain us.

The art though leaves us with a feeling. And it feels like this movie wants to be both. It wants to be beautiful, and subversive, and insightful ... but then it wants us to feel ok.

But the existential dread of black people trusting white people isn't something to be ok with. The boogey man may not be a brain snatching host inhabiting your body. But in real life it's lynching, ending up in the prison system, false charges, getting black balled from professions. The boogey man in this case is actually a real concept. So it's uneasy seeing that sheen and spook taken off and almost irrational. Like who is that for?

Take this movie and change race to gender, and dig into the existential dread of women and sexual assault... and then finish that movie with light heartedness... and it flops. Because you can't take real actual boogeyman and downplay it.

Somewhat comedic show about two girls acting as vigilantes against rapists, hazers, and what not on their campus.

100% on Rotten Tomatoes. I think it's pretty popular on MTV.

https://www.youtube.com/watch?v=3ktWCk8g1kY

Do you think we should treat cinema the same as television as far as determining quality and expectations?

They were editing it downstairs from where I was working but I don't know how good it actually is (although the reviews are solid.)

As for cinema and TV expectations, in terms of what is acceptable, I can see some argument that films should get more rope but in most cases, I think they can be judged on the same plane. Some of the sexual violence on Game of Thrones wouldn't have been more acceptable/less disturbing if it had been a movie.

>As for the specific questions:
>- "The founders and creators of the technique perfected it to
>be house servants in the end? What?!?"
>I think they were just doing that to hide from Chris. My
>assumption was that, once Chris was gone, they would have
>filled the usual grandparent role in the family.


But if the grandparents are in control, why are they SO overwhelmingly stepfordish, why the weird kinks at night, it's clear from the car that they're distinctly different when they want to be, so why is their default so over the top?


>- "Semi famous people go missing and nobody follows up on that
>case? To the point that she's binging top NCAA athletes? If
>Lonzo Ball goes missing, we'll never hear the end of it."
>Agreed. That was there for a joke but it didn't make much
>sense in terms of trying to keep a lower profile or kidnap
>people that wouldn't be immediately recognized. But it got a
>laugh in the theater so I think it accomplished that goal,
>although it seems silly in hindsight.


>- "There's black people hanging out with white people and
>nobody ever has to take a picture wth flash before?"
>If the white people knew that the flash would set the morphed
>people off, not hard to see how they could avoid flashes on
>cameras.

In a world where cameras do that, you do everything you can not to have that happen though.

>- "All of the pictures in a red box get replaced and rehung
>within hours for what purpose?"
>This is getting a little nit-picky IMO. For what purpose? She
>was clearly unhinged. It was unnecessary but it made for a
>cool visual. It's like people writing on mirrors or windows or
>countless other things in movies that don't make complete
>sense but look cool.


Very nitpicky, but I don't understand the character. We're to believe that she's the coldest character of them all? They make her into an American Psycho style Huntress by the end of the movie. The second she raises those keys out of the purse she's a unique character from the previous part of the movie. Meanwhile every other character in the family can barely hide their contempt for Chris and all the guests are the party can't stop treating him like a piece of meat. Why is her role so distinctly different from everyone else? If she's so crucial to the entirety of it all, why isn't she in charge? Why is there so little interaction between her and the mother? They're a family where each person serves a specific and complicated role in a massive conspiracy, but they barely interact. How?


>"How'd you find me was never answered"
>Not sure it needed to be. Had he explained it, it wouldn't
>have improved the movie in any way. And not hard to assume
>that Chris had the address on his computer.

It's not that it's not explained, it's that his friend is covered in blood around dead bodies, and somehow he's able to flip that to a joke. A clash in tone.

I did have two general questions about the story:

1. Why were the grandparents acting like servants. I just thought it would make sense that a grandparents with new bodies would do the things they always did like cut wood and tend house. Soulhonky also made a good point that it would be a good cover to observe Chris.

Their strange behaviour made sense because they were old white people in young black bodies trying to convince a young black man that they were black.

And it worked because the results were creepy as fuck which works for the movie.

2. I did wonder what was Allison Williams role in everything. She seemed to kind of lack motivation for what she was doing. But I kind of didn't have to think about it too hard because I just wrote it off as her just being apart of the family business.


Other than that I think those are minor points because the fact is taken together it all worked. You talk about clashing tones but that's only a problem if it doesn't work or fall flat and it didn't. The crowd roared at the lil rell humor. I also never saw him as over the top, he sounded to me like a regular black dude working at TSA who all of sudden was dealing with an over the top situation.

And of course he would have a joke at the end because that's what you do in movies of this type. There was no more rewarding moment than when he dropped "Motherfucking TSA, that's what we do".

I think your other points are minor points:

1. Dude had the people's names and the state he lived in. It would be easy as hell to find out where they lived. that's what peoplesearch is for.

2. Whose to say that these folks going missing weren't a big deal in this world? Did you really need to see a news report saying these people were missing? If these people were missing and it was a big deal there is no reason why Chris would connect their being missing to these people.


>>As for the specific questions:
>>- "The founders and creators of the technique perfected it
>to
>>be house servants in the end? What?!?"
>>I think they were just doing that to hide from Chris. My
>>assumption was that, once Chris was gone, they would have
>>filled the usual grandparent role in the family.
>
>
>But if the grandparents are in control, why are they SO
>overwhelmingly stepfordish, why the weird kinks at night, it's
>clear from the car that they're distinctly different when they
>want to be, so why is their default so over the top?
>
>
>>- "Semi famous people go missing and nobody follows up on
>that
>>case? To the point that she's binging top NCAA athletes? If
>>Lonzo Ball goes missing, we'll never hear the end of it."
>>Agreed. That was there for a joke but it didn't make much
>>sense in terms of trying to keep a lower profile or kidnap
>>people that wouldn't be immediately recognized. But it got a
>>laugh in the theater so I think it accomplished that goal,
>>although it seems silly in hindsight.
>
>
>>- "There's black people hanging out with white people and
>>nobody ever has to take a picture wth flash before?"
>>If the white people knew that the flash would set the
>morphed
>>people off, not hard to see how they could avoid flashes on
>>cameras.
>
>In a world where cameras do that, you do everything you can
>not to have that happen though.
>
>>- "All of the pictures in a red box get replaced and rehung
>>within hours for what purpose?"
>>This is getting a little nit-picky IMO. For what purpose?
>She
>>was clearly unhinged. It was unnecessary but it made for a
>>cool visual. It's like people writing on mirrors or windows
>or
>>countless other things in movies that don't make complete
>>sense but look cool.
>
>
>Very nitpicky, but I don't understand the character. We're to
>believe that she's the coldest character of them all? They
>make her into an American Psycho style Huntress by the end of
>the movie. The second she raises those keys out of the purse
>she's a unique character from the previous part of the movie.
>Meanwhile every other character in the family can barely hide
>their contempt for Chris and all the guests are the party
>can't stop treating him like a piece of meat. Why is her role
>so distinctly different from everyone else? If she's so
>crucial to the entirety of it all, why isn't she in charge?
>Why is there so little interaction between her and the mother?
>They're a family where each person serves a specific and
>complicated role in a massive conspiracy, but they barely
>interact. How?
>
>
>>"How'd you find me was never answered"
>>Not sure it needed to be. Had he explained it, it wouldn't
>>have improved the movie in any way. And not hard to assume
>>that Chris had the address on his computer.
>
>It's not that it's not explained, it's that his friend is
>covered in blood around dead bodies, and somehow he's able to
>flip that to a joke. A clash in tone.
>


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

>I did have two general questions about the story:
>
>1. Why were the grandparents acting like servants. I just
>thought it would make sense that a grandparents with new
>bodies would do the things they always did like cut wood and
>tend house. Soulhonky also made a good point that it would
>be a good cover to observe Chris.
>
>Their strange behaviour made sense because they were old white
>people in young black bodies trying to convince a young black
>man that they were black.
>
>And it worked because the results were creepy as fuck which
>works for the movie.


But they weren't regular old white people. They were wealthy cult founders who discovered a way to eternal life through brain replacement. If L Ron Hubbert found a way to Xanadu, he wouldn't be mowing the lawn suddenly. That's not how this works. And while they can be creepy, they were almost robotic.


>2. I did wonder what was Allison Williams role in everything.
> She seemed to kind of lack motivation for what she was doing.
> But I kind of didn't have to think about it too hard because
>I just wrote it off as her just being apart of the family
>business.

A character that feels like they lack motivation in a movie is a flaw in a movie. Doesn't make the movie bad necessarily, but when you're thinking of classic characters, or stories, or rating movies perfect then a main character without a motivation is a big deal

>
>Other than that I think those are minor points because the
>fact is taken together it all worked. You talk about clashing
>tones but that's only a problem if it doesn't work or fall
>flat and it didn't. The crowd roared at the lil rell humor.
>I also never saw him as over the top, he sounded to me like a
>regular black dude working at TSA who all of sudden was
>dealing with an over the top situation.
>
>And of course he would have a joke at the end because that's
>what you do in movies of this type. There was no more
>rewarding moment than when he dropped "Motherfucking TSA,
>that's what we do".


And I get that, in a comedy, I get that. But the movie just spent 100 minutes telling us that about distrust and fear and paranoia and loss and trauma and race relations ... good movies don't just turn the tone like that. It's a cop out.

Any white woman put in a black body probably would spend most of their time preoccupied with the mysteries of black women's skin and hair like she was. Staring at her reflection/playing with her locks.

And an old decrepit man getting a new lease on life, nevermind a much more powerful body, would probably think sprinting and being able to cut wood in a single blow was cool as shit and made him so powerful. If L. Ron Hubbard could take over Tom Cruise's body, I could see him spending a lot of time doing the Tom Cruise run all over Los Angeles.

I would agree though that there should have been only two photos in the box. Make it seem like they JUST cracked the code and the grandparents were still getting used to their bodies but ultimately, that didn't bother me much. But I think it might answer your questions.

>I would agree though that there should have been only two
>photos in the box. Make it seem like they JUST cracked the
>code and the grandparents were still getting used to their
>bodies but ultimately, that didn't bother me much. But I think
>it might answer your questions.


I saw it as 'people who for one reason or another didn't work out'. Maybe one guy figured it out early, and they had to kill him, or another guy didn't take to the hypnosis, one guy died in the table, etc.

I'm pretty sure it would take time to get a surgery like this right, so I'd imagne it didn't work on the first try.

the grandparents photos were at the end, so those bodies were the most recent transfers

which would explain the grandparents still not fully being in control or still fighting internally

ie old girl crying, "no no no no no no", etc


and yea with them still getting adjusted, grandma cant stop touching her hair and the old ex-sprinter granddad loves running and chopping wood

I didn't get a sense that this was new event to them. This was a well-oiled machine that seemed to have been going on for some time. I thought the other photos were of people who'd been sold to other families.

>But they weren't regular old white people. They were wealthy
>cult founders who discovered a way to eternal life through
>brain replacement. If L Ron Hubbert found a way to Xanadu, he
>wouldn't be mowing the lawn suddenly. That's not how this
>works. And while they can be creepy, they were almost
>robotic.


I don't see why not. I never got the impression that they were THAT wealthy that they would not raise a finger. I mean dude was an olympic athlete. I could imagine he would remain physical. I think you are relying on cliches about how older rich white people should act.

I am not 100% in disagreement with you. The grandparents thing was kind of sprung on us. I think the story would have worked perfectly fine with how it was headed, they hypnotized black people to be their types of negroes. I don't think they needed the body transplant angle. But it wasn't nearly as distracting to me as it was for you.




>And I get that, in a comedy, I get that. But the movie just
>spent 100 minutes telling us that about distrust and fear and
>paranoia and loss and trauma and race relations ... good
>movies don't just turn the tone like that. It's a cop out.

I thought the movie was funny through out. Misery type funny. I didn't feel a sudden shift in tone. *shrug*

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

or was part of the Kitchen.

Someone reminded me of that line. Seems like an attempt to explain what I was describing. Grandparents doing what they always did.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

Ol' boy (Darius from Atlanta) wasnt introduced to the scene, he was kidnapped. They prolly had never had someone there who would find what they were doing there weird, ya know?


When the lady in the car turned (grandma), I took it as a connection between her (the "morph") and the family. Remember (I'm horrible with names, so be patient) the girlfriend was running out the door and said "grandma", then she changed to grandma. I didnt see it as they can turn whenever they want.





Bottoms up....and the devil laughs..




http://soundcloud.com/rayandersonjr

She was always the grandma. It's not like she turned into the grandma because the girl said "Grandma."

The dude who was kidnapped likely had his brain morphed with the old lady's husband. As it was told, they weren't brainwashed, they put the white person's brain in and it controlled everything but the original brain had to be left in a bit for motor functions but that person would be in the sunken area and just a passenger (unless something triggered the brain to take over.)

Bottoms up....and the devil laughs..




http://soundcloud.com/rayandersonjr

How would she have heard? She tried to stop Chris (pre-utterance of Grandma) and got hit by the car and was knocked unconscious. The granddaughter couldn't just utter the word a mile away outside of the car and then "poof" the grandmother takes over.
Similarly, Walter attacks Chris before she says "Kill him, Grandpa!" It's the flash that switches him from Grandpa to Walter.

It was all explained outright in the scene in the TV room. And it was shown how the flash was what screwed with the operation; got the small part of the original brain functioning again. Kidnapped dude screamed GET OUT! because of the flash.

I don't know why he thought that. Rose saying "Grandma" was for our (the audience) benefit. It was a way of telling us straight up, who were in the Black bodies of the servants.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

I was asking a lot of your "nitpicky" questions afterward when thinking about the film. But I'm sure I could do that with most of my favorite horror films. As long as a horror film picks a strong theme and a strong tone and rides through with that, I tend to dig it more than something that "makes more sense" but doesn't make as strong a statement.

I don't think you're wrong for thinking some things didn't make sense. But when the movie is making such a bold thematic choice, I ultimately decided that I didn't care, since I certainly didn't care as I was watching.

So I guess my beef is with the theme and that ends up being a personal choice and preference rather than what the director was going for.

I prefer my horror to take me there and keep me there. To not give me an out, that if I find humor in it, that's my own response.
Without that I feel cheated. I feel like I watched an episode of are you afraid of the dark rather than something truly scary. in this case I've made too much of a deal about that because the horror is "relatable" for once.

because we're in a time where art like this just gets praised over and over. my girlfriend and I left the theater talking about the tone surrounding La La Land at the Oscars and how the public seemed to have decided that movie was just too white to win and how Moonlight was a win for disenfranchised and creative and young people.

I'm fine with people feeling that way, or taking to this movie because it puts their experience on screen in a way they've never been able to show to other people or watch themselves, but I don't think it was actually that great of a film (I'm talking about Get Out; I could flip a coin between La La, Moonlight and Manchester). It was a decent ride with some smart ideas that got caught up in a movie that never fully committed to what it was; for me, it felt more like 15 minute vignettes of different ways walking into a white, country home can be terrifying for an urban black man than a cohesive film.

the tension, as you said earlier in this thread, wasn't mounting for me. it never settled in; I constantly felt uneasy but the tone swung so wildly from scene to scene and the character's fear level reset so frequently that I just didn't get as invested as I wanted.

plus you can put me in the camp that the bodysnatcher stuff really just felt like checking boxes of "things white people secretly think about black people" at that point. either it should've been the angle for most of the movie or it should've been saved for some kind of spin-off or sequel.

again, I enjoyed it, but I'm surprised (and not...) at how effusive the praise is for this movie as a film. love the idea, like the execution.

~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

with inconsistencies, then they are fine.

Fact is there is no reason old man was running in his work clothes other than it looked creepy and scary. Which is fine.

Many of the points raised here didn't occur to me while watching. Now that they are pointed out I don't really care.



>I was asking a lot of your "nitpicky" questions afterward
>when thinking about the film. But I'm sure I could do that
>with most of my favorite horror films. As long as a horror
>film picks a strong theme and a strong tone and rides through
>with that, I tend to dig it more than something that "makes
>more sense" but doesn't make as strong a statement.
>
>I don't think you're wrong for thinking some things didn't
>make sense. But when the movie is making such a bold thematic
>choice, I ultimately decided that I didn't care, since I
>certainly didn't care as I was watching.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

Or did yall just look at it.

I thought he said exercise. If that's the reason that really doesn't explain middle of the night in work clothes.

School me if I missed something.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

I took it more as training the body on autopilot. Which is why he seems so zoned out.

the dude running had the grandpa's brain who raced against Jesse Owens in the US olympic trials. so his exercises are taking his superior black body for a test drive.

It was one of the things that immediately hit me when she said "grandpa". It all made sense then.

But why at night. And why on autopilot

You can't ask me to suspend logic and still be afraid when I suspend logic I'm entertained. Watching a fleet of cars parachute out of a jet plane is absurd and I know it is, so I'm all about it. A black man robotically doing wind sprints at night running jerry rice routes is just goofy.

to have someone run in your direction at full speed. Especially when you don't know why. I've had that experience.

Horror and thriller movies are full of creepy and scary images that don't stand up under scrutiny. I am not going to hate the Shining of the Ring because of it.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

>the dude running had the grandpa's brain who raced against
>Jesse Owens in the US olympic trials. so his exercises are
>taking his superior black body for a test drive.


Bingo. The father alluded to it when he was giving the 'tour'.

since the maid/grandma is up at the middle of the night too


work clothes, or hat at least - is to cover the surgery scars

the andre/logan cat wears that big goofy hat and grandma keeps arranging her hair

SUPER super fast toward him. Damn, this movie has layers.

Why yall keep hinting at it and not telling!??

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

Peele put together a tight little narrative.

He...almost got over it. SMH

It was asked above why the grandparents were acting as servants. No reason to think they also pretended to be servants when there wasn't a new victim present.

Blood maybe? Feel like I've seen worse in some PG-13 movies.

I'm not sure it's still the rule but it used to be that you could only use "Fuck" in a movie once or else it's R. And I think it also couldn't be used in a sexual way. "Go fuck yourself" is fine, "Come fuck me" is bad.

So language-wise, Get Out was probably fucked. I think dude in the first scene might have dropped a couple f-bombs.

Also, the moose head stabbing would need to be toned down. Some bits of the brain operation were probably dicey. The amount of blood would have had to come down. Maybe even Chris strangling the girl was a cause for concern. Given the MPAAs general hatred of sex, the whole sex slaves angle probably irked them too.

You can almost show as much violence as you want as long as it's bloodless. Sex and curse words are worse in the MPAAs eyes.


The MPAA List:

Violence:
- Frequent explicit violence.
- Infrequent portrayals of gun, weapons, and hand-to-hand violence, with some blood and gory detail.
- Depictions of physical assault and injury.
- Violent acts shown in realistic detail with blood and tissue damage.
- Gory and grotesque images.
- Disturbing scenes.
- Frightening scenes.
- Suicide.

Sexual Content:
- Sexual references.
- Embracing and kissing.

Profanity:
- Frequent use of the sexual expletive and variations, sometimes in a sexual context.
- Frequent use of scatological slang.
- Infrequent use of cursing, profanity, and vulgar expressions.
- Slurs.

Alcohol / Drug Use:
- Tobacco use.
- Alcohol use.

I didn't think there was any Bingo game. They just used the cards as auction paddles. But considering all the other hidden messages, maybe the bingo cards where significant.

and something that wouldn't appeal to a younger person. That way the black boyfriend (or girlfriend) would opt to go off with the daughter, giving the old folk an opportunity have their auction.

they would've had to come up w/ something else to get me out the way for a bit lmao.

the twist was it was actually an auction.

That's all.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

Mixed with the usual Twitter nonsense and a lot of GIFs

https://twitter.com/BlackMajiik/status/836767203189993472

"I just realized y ol girl in #GetOut was eatin the fruit loops & milk separately together." And drinking out of a black straw.

"also when he's talking to ole girl about unplugging his phone there's a sign behind him that says "Chris is dead" (Not sure if this is true.)

"the white lady controlled the minds of black people and forced them to obey her with an actual silver spoon"

"they also had him picking cotton when he was sitting on the chair"

"she got mad at the cop asking for ID because she didn't want him to know he was there"

"And how the movie starts off with "Redbone" by Childish Gambino talking about "STAY WOKE"."

"when the dad is showing Chris the kitchen he says "we still keep a piece of my mother in here" and the maid is in there"

In an ironic twist...picking cotton set him free from slavery.

only way he got his freedom was using sports?

I'm not a big horror fan to begin with, so I locked myself in for a few "cat jumps out of the cupboard" moments. Thankfully there weren't many. I liked the general tone, and I'm glad it was more of a psychological thriller than a guts & gore thing. I have to admit though, I was more thinking what would come next than being 'frightened'. As I said I expected it to be creepier. But I dug it.

and what the granddad was saying on the black and white tv? i think i had zoned out some at that part

Re: Asian Dude

That's when he called over "Logan" and asked him to discuss the African American experience.

And I know the granddad was discussing the coagula, but I'm trying to remember if he was dropping some societal metaphors or other lines worth dissecting

I really need to see this again to catch the stuff I missed before.

He said something along the lines of he finds it enjoyable. But then he got hit with the flash

Jordan fucking Peele ladies and gentleman

People don't seem to agree with me about Hostel 2....but this is the best horror movie since Hostel 2.

One thing...that Jeffry Dahmer stuff....that was dark.

Well deserved, fucking loved it.

http://www.thewrap.com/jordan-peele-just-became-first-black-writer-director-100m-movie-debut/

Over the weekend, “Get Out” director Jordan Peele quietly made history when he became the first African-American writer-director to earn $100 million with his debut movie.

In its third weekend of release, the horror-satire continued to show long legs despite strong competition from two big blockbusters, “Logan” and “Kong: Skull Island.” The film only saw a 25 percent drop off from the previous weekend to hold to an estimated $21 million, bringing its domestic cume to an estimated $111 million.

Not only did Peele, who produced as well as wrote and directed “Get Out,” achieve the milestone with a $4 million budget and a largely unknown cast, he set a new studio record for Blumhouse in the process. “Get Out” only needed 16 days for its domestic cume to pass the nine-digit mark. That breaks the record set by Blumhouse’s other 2017 hit, “Split,” which reached $100 million in 19 days.

Horror movies usually rely on a strong opening weekend for the majority of their box office haul, after which they hit a substantial drop-off in subsequent weeks. Not so for “Get Out.” The Universal/Blumhouse film was expected by trackers to make $24 million in its opening weekend. Instead, “Get Out” ended up beating that projection in both its first and second weekends, posting a $34 million opening before dropping off to $28 million in week two.

It's fun, and funny and spooky and gory and smart in a
way that Tarantio wishes he could be.



----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

I couldn't help but shake my head bc of their inability to deal w the cognitive dissonance but at the same time confirmed the premise and genius of the film.

Bravo, so well done on so many levels.

Yep it was good as hell


~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

glad I watched this at a matinee for like 3.50 a couple weeks ago. The rest of that money that would have went to that ticket was spent on copious amounts of toilet paper because that shit was doodoo. OVERRATED

>glad I watched this at a matinee for like 3.50 a couple weeks
>ago. The rest of that money that would have went to that
>ticket was spent on copious amounts of toilet paper because
>that shit was doodoo. OVERRATED

last 20 minutes was hot tho, you know Miles Davis would have loved that shit. I cant help but imagine what an early Spike Lee would have done with the first 3/4 of the movie

and asked if he had "smoked in front of her daughter"

ie I think they were afraid of bidding on damaged goods,and wanted to know if their daughter was reporting everything she should be to them

>and asked if he had "smoked in front of her daughter"
>
>ie I think they were afraid of bidding on damaged goods,and
>wanted to know if their daughter was reporting everything she
>should be to them

yo!

http://www.thefader.com/2017/04/04/get-out-original-screenplay-record



~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

that the TSA friend 'knew' to come to the house because he ended up calling the gf again and arranged to hook up with her? lol.

thought that for a sec.

at him.

Brilliant, brilliant movie!

Just watched this version tonight off of Amazon.