The great coup of the first act is that it turns the welcoming smiles of upper-middle-class white liberals into something creepy—and I say that as one of them. From there, it builds to the horror movie sweet spot where the end has license to go insane without betraying the beginning. It is a thoughtful, political flick about being afraid of losing yourself—but Peele knows the secret is a mischievous sense of humor.
What would sixties figures like Frankenheimer, whose "Seconds" this is reminiscent of, in its glassy classicism, pre-programmed antagonists and lone hero, made of a future that draws it's racial faultlines so markedly? Yet "Get out", in it's anger, dead-eyed pathological characters (plus its exceptional lead performance) seems like a call back to an even rawer time than the boomers could have envisaged. 2.5*
The ending is disappointing and the expository scenes are both didactic and pedestrian, but the first half works ruthlessly well. Get Out would have worked better as a short, rather than a 100 minute long pseudo-remake of The Stepford Wives with a racial rather than feminist overtext. Brace yourself for the inevitable Netflix produced, TV spin-off à la Dear White People. The cow must be milked hard.
3,6. I really liked Jordan's approach to this subject (racial discrimination) because it feels fresh and unique. The movie mixes a lot of different genres and has moments of pure brilliance (like the opening scene) but final act is a bit of a letdown to all that crazy and creative build-up.
This was a more clever and self-aware movie than the marketing seemed to describe in the trailer which made me think it was gonna coast on the high concept premise. Fortunately, it did a great job of playing with expectations and made it much more than a message movie.
Digital. Synthesizes the constituent elements of a society by adapting the premises of a social criticism to a scientific parody - in fact, a little less dazzle with itself and we would be faced with a decisive inventory of the possibilities of the ruling classes' horror. Either way, capitalism allows it and neo-colonialism suggests it. Fun - the capitalists have taken over the asylum.
The insidiousness of prejudice, ethnic despise and contempt and a thought-provoking somewhere between soem of the best meta horror films of the 10s 'under the skin' and 'it follows' (and many a Lynch flicks) come to mind. i went back and forth with my rating. Still being haunted by this.
Starting with the same idea than GUESS WHO'S COMING TO DINNER (1967), here's 50 years later a new story on the racial issue. More noise, more suspense, a thrilling music, some gore, heaviness & less cinema. == Partant de la même situation que DEVINE QUI VIENT DINER? (1967) voici 50 ans + tard 1 autre illustration du racisme. Plus de bruit, de suspense, de musique stressante, de gore & de lourdeur. Et moins de cinéma.