get out (2017, dir. jordan peele)

I dug this, Partially because it was uncanny as fuck particularly in that 70s way that they don't really do anymore.

I wonder what Mark Fisher would have written about it.

According to IMDb:

Keegan-Michael Key, who is known for collaborating with Jordan Peele, portrays one of the "Top NCAA Prospects" that Rose searches online for.

Also, the music/scoring in this was dope and I hope it gets more attention.

Don't have much to add to what everyone's already said other than what a headfuck that the first music we hear is Flanagan and Allen, such an unlikely, perfect introduction.

saw this again yesterday. just as dope second time around. didn't notice much additional the second time other than the "help" had very visible, pronounced brain surgery scars at the end that weren't visible earlier in the movie, which I didn't notice the first time.

no creepier scene to me than the bingo scene tho

They all wore hats or wigs

not saying it was continuity issue, just that I figured either they concealed it earlier in the film or that somehow Chris just was hypnotized out of seeing it.

"concealed" like w/ makeup or wigs as you say etc etc

this movie was great. clever how so much of the horror movie tension of the first half was just racial tension. I saw it in a full theater here in Vietnam and almost none of the jokes got laughter, but I guess a lot of it relies on knowing the racial climate of the US. in fact, it's kind of a weird movie to make it into theaters here except that it's ostensibly a horror movie, and those are very popular in Vietnam

That's an absolutely fascinating take. Really! I wonder if that's how it's playing out elsewhere in Asia. So horror is a big Vietnamese thing, you say?

yeah Ned, we get pretty much every horror, action, or animated film from the US. Those types of movies tend to translate well across cultures. Horror films are very popular here, and I think in other Asian countries too (Korean horror films play here frequently).

occasionally we get dramas and comedies like Hell or High Water - theater was empty was I saw that - and Dumb and Dumber 2. American movies are competing against Vietnamese, Korean, and Chinese movies here so I think the stuff that requires more cultural knowledge of the US tends to be rare. Which makes Get Out pretty unusual, but hey, I feel lucky that I got to see it here

i wasn't sure why he kept asking rose for the car keys even after he knew she was involved in the plot.

I feel like if you're in a relationship with someone it's super-hard to believe that they've been lying to you! I read this as: he's hoping against hope that, despite what he knows, she actually truly cares for him and will save him in his hour of need, the whole thing couldn't have been completely fake -- could it??

yeah the tension in his voice there wasn't just "i'm being threatened by your parents and doofy looking brother", it was also 'please don't betray me too, Rose'

he's probably hoping she's an unwitting participant, either brainwashed into it herself or forced against her will etc

saw this at the cinema last night. so good. the balance was perfect. as a satire/comment on racism aside, it worked brilliantly as a horror in its own right. Not so much jump-scares as jump-laughs, as in how some of the most effective humorous moments came out of nowhere.

my audience's reaction to the cop car pulling up was profound

― a serious and fascinating fartist (Simon H.), Monday, February 27, 2017 3:02 PM (four minutes ago) Bookmark Flag Post Permalink

AFAIK UK cinema audiences don't tend to be as 'responsive' as US audiences, but yes there was a notable 'oh shit fuck shit' feeling running through the cinema when this happened.

in the London cinema where I saw it, the audience cheered at the reveal in that scene

in the London cinema where I saw it, the audience cheered at the reveal in that scene

― Neil S

Me too! It's not impossible we were at the same screening...

I had the pleasure of visiting Stratford Westfield to see it!

Angel Vue for me... It has obviously had a rousing effect on the people of North/East London.

I can report excitable audiences at Covent Garden Odeon, too.

A few people went "yes!" at Glasgow cineworld, including me

after running for nearly two months in the suburbs, our art house theater is picking up Get Out on Friday. Don't know if it's worth seeing again but psyched that it's playing in the city.

My friend and I saw this in a smaller semi-rep house, so there were maybe eight people in the theatre. I wasn't unhappy about that.

My wife and I finally got to this tonight. The kid at the box office said, "I've heard that's really good." We said we'd heard so too. He said, "We're all surprised it's stayed here so long. A lot of other movies opened after it and they're already gone." (Bear in mind this is in East Tennessee.)

Really good movie. So many smart moves in it, everything works on multiple levels.

it was uncanny as fuck particularly in that 70s way that they don't really do anymore

i also loved the jump scare when he's going out for a smoke and the maid passes by. it only happens once but it pays off throughout the rest of the film - if it happened once it could happen again. everything gets amped up a notch.

is that the bit that's nicked from Exorcist 3? There is a bit like that in the film.

homage, sorry, not nicked

Though I doubt it, it would be hilarious is Peele was drawing from Exorcist 3 for inspiration.

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.