Jordan Peele's GET OUT (Wins an Oscar for Best Original Screenplay)

If you have seen GET OUT, how would you rate it?

  • Total voters
    194
LEGS MAHONEY said:
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More alike than you think.

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LEGS MAHONEY said:
lmao at the responses in here. Im hardly a SJW and quite critical of the whole movement but get out was funny as fuck and a good movie

You fruitcakes carry on about about lefties getting offended over the slightest thing but here you are doing the same fuckin thing. <JagsKiddingMe>
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I'm with you man. Lately the blizzard of snowflake white male conservatives trying to paint themselves as victims of anti-white or anti-male plots because of the most harmless things, like people giving positive movie reviews or the gender of the new Star Wars lead or a pro athlete kneeling, has really gotten out of hand. They have certainly overtaken the left as far as SJWism goes, they just have a different definition of social justice.

I'm surprised folks are so offended by the racial message of this flick, since it was alluding to more liberal New England "don't worry I voted for Obama" crowd being the actual villans and didn't go after conservative culture or anything close to that.

Get Out was great. It's been a long time since I've seen a horror movie where I was that invested in certain characters "Getting Out" and others getting what they deserve. Well shot too, decent of amount of easter eggs and subtle nods to the theme in the art direction, wardrobe, good attention to details. Not just your paint by numbers horror flick directing.

IMO anyone saying this was a TERRIBLE flick has really strong feelings on race and is over-focused on that. It was well paced, a good balance of campy and suspense, had good acting and was well directed. Which is more than you can say about 95% of horror flicks in the last few years.
 
I watched this film for the first time last week, and here are my uninfluenced thoughts:
  • The film is well-directed and well-shot from a cinematography and narrative story design POV.

  • I was really annoyed at Allison Williams' character's forced interjection of "fuck" in every other line of hers. Like extremely irritated.

  • Kaluuya as the protagonist was pretty well-written from a logical standpoint. He wasn't presented as an idiot, and put the pieces together with the appropriate emotional feedback (which was impressive in certain scenes).

  • The standout scene was Stanfield's nose bleed "get the fuck out of here" warning, which had amazing resonance.

  • Didn't even realize Bradley Whitford was the father until after the movie ended.

  • They did something very unique in this film, and that was interjecting (surprisingly good) comedy in a horror picture. I'm otherwise a major critic of mixing conflicting genres (as horror is intended to evoke fear, whereas comedy should do the same with laughter), and it's hard to criticize when Howery's comedic performance was so effective, but comedy kills fear.

  • PLOT:
    This was an interesting concept that became overrated (in the truest sense of the term) because it played on race relations with a tinge of truth about how blacks are received in modern white society, so the social commentary is what gave this film the attention it got, and not necessarily because it's "The Exorcist" or "The Shining" of this generation.

    The story itself isn't that groundbreaking, and coincidentally I just watched A CURE FOR WELLNESS a week or so prior to watching this, which also had a similar premise of "luring in unsuspecting visitors to use their bodies for nefarious means, with a freaky history / backstory explored throughout the film" (and as other have noted, this premise has been used any number of times before in horror pictures).

    Whitford was excellent. I was less-than-enamoured with the mother's role and the use of hypnosis, and wish they instead would've gone with drugs to induce sickness (for better logic, as well as a nod to A CLOCKWORK ORANGE, and to make more inferences to the perceived drug culture among lower-income blacks, especially more so since the protagonist isn't presented as a "gangsta"—to make it all the more stereotypical).

    Williams' character is protected pretty well as far as whether or not she's in on the conspiracy up until the "keys" scene. The brother was irritating, but it fits the role.

    I liked the happy / funny ending, but was surprised. I expected Peele to go the social commentary route on this too, and have the white police officer from act one show up and shoot Kaluuya on sight because he was a black guy standing over a dying white woman, and assumed the minority was the murderer (even though Williams was the one who was a bitch to him earlier).

    All that being said, this is a good horror movie in the modern context (especially considering most of what is made these days in Hollywood is utter garbage), and Peele is a good director who doesn't overuse CGI / filters as a lot of others do. His comedy writing is fantastic, but I've got to see how his "Twilight Zone" reboot does to get a better idea if he has any creative genius as a writer. GET OUT was a pretty good start, though.

    As for plot holes, every single mystery, suspense, thriller, and horror have them, and if they don't, viewers will find something to complain about anyway. It's impossible to appease everybody.
 
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shockaholic12 said:
I'm surprised folks are so offended by the racial message of this flick, since it was alluding to more liberal New England "don't worry I voted for Obama" crowd being the actual villans and didn't go after conservative culture or anything close to that.
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This comes closer than anything else I've read that explains my biggest question about the plot: Why black guys?

Undocumented immigrants would be more attractive targets as they would have fewer people looking for them and fewer records confirming who they are.
 
quadrunner said:
I liked it, it wasn't a masterpiece by any means but it was funny, creepy and had a huge twist in it.

Could've went without the random scene of where the white cop was being a dick to him just because he's black. That's the big thing tho now so he had to have something of the sorts in the movie I guess.

Also I knew his GF was in on it the whole time, her whole I'm shocked at how my family is acting towards you was pretty transparent to me. You would know exactly how your parents would feel about a situation like that before it even happens lol
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The cop scene was significant though because Allison Williams getting pissed and insisting Chris not hand over his ID was

one of those moments that you can appreciate more in hindsight a la her not wanting an officer to know Chris' name/associate it with his face so it would be easier for her family to "get rid of him".
 
ufcfan4 said:
The cop scene was significant though because Allison Williams getting pissed and insisting Chris not hand over his ID was

one of those moments that you can appreciate more in hindsight a la her not wanting an officer to know Chris' name/associate it with his face so it would be easier for her family to "get rid of him".
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Ohhhh I didn't think of that, good call. You're absolutely right.
 
Pretty much the same general plot as the Kate Hudson flick Skeleton Key, but shittier.
 
Get Out and Mad Max Fury Road are the 2 best films of the last decade
 
sleepwalk said:
This comes closer than anything else I've read that explains my biggest question about the plot: Why black guys?

Undocumented immigrants would be more attractive targets as they would have fewer people looking for them and fewer records confirming who they are.
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Haven’t seen it since the theaters so I might be forgetting something but I believe the story was something like granddad not being able to compete with the black athletes in track made him obsessed with their physical advantages and spawned the whole idea in a way. In a way it’s a jealousy/revenge sort of thing.
 
Plissken said:
Pretty much the same general plot as the Kate Hudson flick Skeleton Key, but shittier.
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It was? Wasn’t Skeleton Key about possessing people so you can stay alive forever inside someone else? Get out was about hypnotizing people to make them your slave.
 
I liked it. I just wish Allison Williams showed her tittays.
 
ThereIsNoSpoon said:
I live in a very conservative society and as a free minded libertarian, it's not an easy to live in a place where racism, bigotry and homophobia are the norm.

The problem with films like this one, and the general neo-liberal hypocrisy, is that they present a particular point of view that should it be universal, it would be shredded to pieces by critics and social commentators. They do nothing to tackle an issue except present a naive spectrum of black and white (pun intended) where white=crazy, envious, empty and black=oppressed, kind, smart, scared

There's absolutely no shade of grey to be found. Every single white character is crazy, murderous psychopath and every black is a victim or a genius comic relief cop.

Imagine a film where a white character says: ''If i'm surrounded by a group of black people, i feel insecure/scared''. Or a film where a white guy moves into a ghetto and every black guy wants to kill him just because he's white. It'll be labeled the most racist thing since KKK. And that's the problem. Either both extremes are bad or none of them are. You can't pick and choose which group can use gross stereotypes to make a point.

Modern liberals are not really liberal at all. They want revenge. They don't want equality. People were complaining that Suicide Squad (a terrible film but that's beside the point) was misogynist because there was a scene where a female was punched for comic relief. How many hundreds of times has a man being punched for comic relief in a film? Did anyone protest? Why the hell should they?

Then you have the creators of Dear White People, a very acclaimed tv show say black people can't be racist and you see my point. It's the kind of stupidity that does absolutely nothing to tackle racism.

Racism is a fundamental tribal problem...no particular group is exempt from it. Not in Millennial America though.
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Yeah but the Japanese guy was curious about the black experience in modern America.
 
shockaholic12 said:
I'm with you man. Lately the blizzard of snowflake white male conservatives trying to paint themselves as victims of anti-white or anti-male plots because of the most harmless things, like people giving positive movie reviews or the gender of the new Star Wars lead or a pro athlete kneeling, has really gotten out of hand. They have certainly overtaken the left as far as SJWism goes, they just have a different definition of social justice.

I'm surprised folks are so offended by the racial message of this flick, since it was alluding to more liberal New England "don't worry I voted for Obama" crowd being the actual villans and didn't go after conservative culture or anything close to that.

Get Out was great. It's been a long time since I've seen a horror movie where I was that invested in certain characters "Getting Out" and others getting what they deserve. Well shot too, decent of amount of easter eggs and subtle nods to the theme in the art direction, wardrobe, good attention to details. Not just your paint by numbers horror flick directing.

IMO anyone saying this was a TERRIBLE flick has really strong feelings on race and is over-focused on that. It was well paced, a good balance of campy and suspense, had good acting and was well directed. Which is more than you can say about 95% of horror flicks in the last few years.
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You know what the problem is, right? They see changing demographics, a black president, minorities telling stories of blatant racism when they used to only be able to tell those stories to close friends, etc. They see all that and think it’s their white privilege, which they deny even exists, going away.
 
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