get out (2017, dir. jordan peele)

it's this bit i'm referring to. it is def referenced in Get Out.

https://www.youtube.com/watch?v=zH8ynu0jRvY

jebus!

there's definitely an echo of Zodiac's use of Hurdy Gurdy Man at the beginning with the Flanagan And Alan. that thing where you take an innocent song that has already has a hint of eerieness, but turn into something diabolical. that and the car driving around in the darkness.
brrr..

http://www.avclub.com/article/heres-extremely-depressing-alternate-ending-get-ou-255574

Crap, looks like it's gone.

The more I think about it the more ridiculous it is (spoilers): if Grandma and mad genius grandpa had their brains or essence or whatever transferred to two new people, why would they want to spend their extended and/or reincarnated lives doing menial labor as maids and workmen, especially surrounded by people who know exactly what they did? Didn't bother me at the time so it doesn't really hurt my take-away, but still. I wouldn't be surprised if there was a throwaway line in there I missed or can't remember, referencing Grandpa's all-enveloping love doing yard work or Grandma's love of taking care of people. Or something like that.

― Josh in Chicago, Thursday, March 9, 2017 7:43 AM (two months ago) Bookmark

grandpa likes pretending he's jesse owens

Grandmas love taking care of their families, no doubt. My grandma is nearly 100 years old and we have trouble stopping her from cleaning the kitchen.

Weren't they just putting on that act for the new guy

there's a lot of stuff in this film that doesn't make narrative sense. like why would they go to the trouble of having the daughter charm so many men to take back to the house and then go through the rigmarole of having him stay over on holiday only to end up resorting to violent measures to bodysnatch him? Surely they could just go around kidnapping people (like in the opening scene)? That said, it's not something that concerns me much since the whole thing is an analogous satirical comedy

i think a combination of wanting to know the person well and them having to be susceptible to the hypnosis -- they mentioned how the creepy son's more brutal tactics made it more difficult for them.

it felt to me that one of the unspoken things was that for all of the shiny equipment and neat informercials and dreams of being reinvigorated the surgery totally sucked, producing these weird stilted zombies that everyone just decides to accept are the people whose brain is in there.

Totally

I thought the first half of this was a masterpiece of tension building and discomfort and the second half (roughly speaking, that is; I divide the film at the point when the mystery starts becoming clear) was an enjoyably bonkers horror flick, executed well enough that I was neither disappointed by the tonal shift, nor all that bothered by some of the illogic of the scheme. Fantastic performances all around, including Stephen Root in his pair of scenes, which no one has mentioned yet. I don't even mind the ending, and I agree with what was said upthread about how the conclusion allows the audience to consider the alternative ending while providing the more satisfying ending at the same time. A few awkwardly staged moments of action and some laughably bad CGI in two specific instances aside, Peele's direction is impressively crafty and artful; I look forward to seeing what he does next.

I thought the tension building was flawed - it built really fast and stayed there, some ebb and flow would have been more effective I thought.

yes we needed to see how the white family "got their powers"

will be disappointed if Allison Williams doesn't get murdered somewhere along the line

film delivered

this guy

https://geeksofcolor.co/2017/09/21/jordan-peele-developing-a-nazi-hunting-tv-drama/

that Ron Stallworth story is very intriguing, I'll be looking forward to that.

I know that this is such a lame thing to ask but how jump-scare heavy is this film? Because it sounds great and I'm realizing I actually like horror stuff but tbh I don't like the idea of shit popping out at me

Very few if any, I believe. I mean, there's some startling shit that happens, but not anything like THE BOOGEYMAN HE FLY AT YOU FACE.

There is only one that I can recall, it's pretty good tho

good horror doesn't rely on jump-scares. like exclamation marks, used liberally they're a form of bad style

There are one or two jump scares in this, probably because they are required these days, but it's pretty modest on that front. It's more a psychological tightening the screws thriller, albeit not a terribly atmospheric one. Just a general vibe of weirdness that grows and grows.

Sometimes good horror movies use jump scares well. Bad horror movies often use lots of jump scares for lack of anything else. I feel like people being very concerned about them is somewhat of a recent meme.

Well, I think it's more people becoming extremely self aware that they are always accompanied by fail-safe orchestral stabs and loud noises. It's not the scare that's cliched, it's the lack of confidence in the scares.

it's a meme now? i was on that tip before it was cool yall

I say that because my teenage son, who mostly speaks in grunts and memes, will occasionally say things like "I heard that movie was bad - jump scares."

i rarely go and see horror movies in theaters these days because the quiet quiet quiet BOO LOUD NOISE shit done x20 is totally nerve fraying and basically the opposite of fun for me

Get Out wasn't bad in this respect iirc

I only watch movies if there's a jump scare but it's ok because it's just a cat so you can relax no wait another jump scare this time it's actually the killer!

oh no, a good jump scare done well is amazing. a film full of them is the worst

https://www.youtube.com/watch?v=Dp_8h-AbQ98

there's a few jump scares in this film, not excessive

usually waht scares me about jump scares are the 17 year olds who shriek in my ear when they happen

fool me into thinkin i like a movie and then get home and realize I was only scared cos people were rupturing my ear drums

i have always hated jump scares, they're totally unpleasant and cheap

if I ever make a horror movie, anytime anyone stops to look at or behind anything, they will be immediately killed, then licked by a passing cat a few beats later

jump scares are a lazy trope but worse are the current crop of Catholic-guilt demons-among-us horror films because basically all it is = invincible malevolent forces shapeshifting into whatever they feel like for 2 hours with no ground rules and no Argento-like visual treatery to make it worthwhile.

Annabelle sucked balls.

That's good to hear, thanks everyone! Definitely gonna check this out soon.

Personally I hate jump scares and I've really started to take more of an interest in horror after realizing that good horror films involve much more than obnoxious surprises, but I will admit that I like a well-done jump scare. a good example = the winkys diner scene in mulholland drive.

Oh man there's so much good horror that has no interest whatsoever in making you jump out of your seat and shriek, so much of it.

I finally watched this as part of my year-end catch-up.

The constant ebb and flow of wondering whether these people are for real, or if they're presenting a veneer over something evil, kept me on the edge of my seat. I think the tension of being a fish out of water, this entire white people country club life that the protagonist is dropped into, was really well done. It's a position I've experienced few times, but every part of the party gathering was hitting my fight-or-flight instinct and it's a testament to Peele's writing and directing that it seems so relatable, but he has Chris keeping his cool because this is how life is for him all the damn time. And that's why he's noticing things but navigating through it until we get to that crucial photo reveal.

Seeing the film nominated for comedy categories initially made me irritated, but it's true: it's a dark satire, a comedic allegory. The film itself is completely horror (phone calls with TSA hero buddy notwithstanding) but outside the context of the film's world we recognize satire as humor, although this is a work that makes me really question that.

And yeah, the police car pulling up had me on the edge of my seat but the door swinging open to reveal it says "Transportation Safety" had me cheering.

kept me on the edge of my seat

my literal experience too, from beginning to end

I did enjoy the ads running in trade press telling me to vote for this movie In All Categories Including Best Picture

that is awesome. i think a best picture nom is a v safe bet, and after last year a win isn't implausible either, which is pretty remarkable

happy to hear that people are having the same edge of the seat experience at home as i had in a packed theater on opening weekend

We liked it in Miami!!

So the first 70 minutes or so of this were pretty good. Unfortunately it then becomes a full-blown conventional horror film, ie the dumbest genre. The Plot of the locals, when revealed, didn't really make any kind of sense to me. And I was not scared for a minute -- the most 'horror' in the general sense was probably all the White People Remarks to Chris, cuz you know they've all been said.

Kaluuya was fine (I can't say the same for the endless tics of Allison Williams). My favorite performances were by the TSA friend and Stephen Root.

And have you watched the original bleak ending on the DVD? Much better.

I've seen the alternate ending. I prefer the one Peele used for how my theatrical audience reacted to it (audible relief)

surprised Peele didn't do anything to wrap up the "Logan King/Andre" character arc in a post-credits sequence

Mike D'Angelo generally OTM:

Kaluuya, who was so quietly impressive in Sicario, turns in one of the most expressively reactive performances I can recall, projecting Chris' true emotions—half-pained, half-amused at self-serving proclamations of allyship; dumbfounded by casual overt racism—through a credible scrim of politeness. (Casting a dramatic actor, rather than Key or himself, was an inspired choice on Peele's part. Kaluuya is already my choice to beat for lead male this year.) The big twist, however, kinda defangs the movie. "Why us? Why black people?" Chris asks, and the answer feels *ad hoc*, because race isn't really intrinsic to the (fairly decent, if familiar) horror-movie idea Peele came up with. Elderly or disabled people wanting to inhabit younger, healthier bodies makes perfect sense in any context; there are potentially pointed and discomfiting reasons to demand African-American vessels, but Get Out, surprisingly (given how consistently sharp the setup is), doesn't dig in. I suspect that's because Peele recognized that it's much creepier for the groundskeeper and the maid to be Stepford-y rather than, say, clumsily "black" (i.e. appropriation as possession, which seems like the obvious thematic choice if you're shrewdly taking aim at "the good ones" rather than deplorables). The satire and the horror mesh so weakly that strengthening one inevitably means diminishing the other. And revealing the ostensibly well-meaning white liberals as pure evil, rather than deluded, lets them (me) off the hook.

Whichever ending doesn't matter because the point of the entire movie is embodied in the viewer putting two and two together when the cop car initially shows up

The big twist, however, kinda defangs the movie. "Why us? Why black people?" Chris asks, and the answer feels *ad hoc*, because race isn't really intrinsic to the (fairly decent, if familiar) horror-movie idea Peele came up with. Elderly or disabled people wanting to inhabit younger, healthier bodies makes perfect sense in any context; there are potentially pointed and discomfiting reasons to demand African-American vessels, but Get Out, surprisingly (given how consistently sharp the setup is), doesn't dig in.

idk i think this is kind of backwards or at least i don't think the movie needed to dig in much more than it did, it's p. obvious that the idea was to take white fascination with/appropriation of blackness when convenient to an extreme conclusion. when listening to black ppl talk about this movie the reaction was more "well of course, they're always taking from us."

also deluded vs. evil does nothing for me when one easily leads to the other. clearly in some wacky sense the whites felt they were doing some best of both worlds shit that yes was also very evil.