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PostPosted: Sun Feb 26, 2017 6:48 pm 
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thirtyframesasecond wrote:

I guess RT doesn't include him anymore, because the tally is now up to 135 professional critic reviews and still 100% acclaim


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PostPosted: Sun Feb 26, 2017 7:03 pm 
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thirtyframesasecond wrote:
Once again he saw whatever he wanted to see and objectively didn't understand the film well: for example his garbled criticism of the film's opening wrongly claims that a character never comes up later in the film, showing that he totally missed a major plot thread involving said person (and possibly didn't even watch the whole film).

And apparently Obama leaving office isn't going to deter White from continuing to complain about him constantly and refer to things like this and The Revenant as "Obama movies." Nine mentions of Obama sprinkled throughout to invoke his straw man of all that's wrong with contemporary culture. It's not as though being out of touch is a liability for him at National Review, like in this same piece where he refers to the 17-year-old The Klumps as an example of a recent movie "so personal and ingenious" that it transcends race.

domino harvey wrote:
I guess RT doesn't include him anymore, because the tally is now up to 135 professional critic reviews and still 100% acclaim
Probably not, as he also defends the Eddie Murphy movie A Thousand Words in this column, which is one of only a few films to have a 0% on RT.


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PostPosted: Mon Feb 27, 2017 2:28 am 
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Split cleaned up at the BO too, Blumhouse is having quite a year.

Looking forward to seeing this, and hope that Peele dons the director's cap again soon. Shyamalan, on the other hand...(will give Split a shake at some point, but cannot ever discount the possibility The Happening might happen again)


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PostPosted: Wed Mar 01, 2017 1:25 am 
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Armond's review is up on RT, it's the only negative review of this film listed on the site


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PostPosted: Wed Mar 01, 2017 4:33 am 
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Gregory wrote:
thirtyframesasecond wrote:
Once again he saw whatever he wanted to see and objectively didn't understand the film well: for example his garbled criticism of the film's opening wrongly claims that a character never comes up later in the film, showing that he totally missed a major plot thread involving said person (and possibly didn't even watch the whole film).

And apparently Obama leaving office isn't going to deter White from continuing to complain about him constantly and refer to things like this and The Revenant as "Obama movies." Nine mentions of Obama sprinkled throughout to invoke his straw man of all that's wrong with contemporary culture. It's not as though being out of touch is a liability for him at National Review, like in this same piece where he refers to the 17-year-old The Klumps as an example of a recent movie "so personal and ingenious" that it transcends race.

domino harvey wrote:
I guess RT doesn't include him anymore, because the tally is now up to 135 professional critic reviews and still 100% acclaim
Probably not, as he also defends the Eddie Murphy movie A Thousand Words in this column, which is one of only a few films to have a 0% on RT.


I reckon it must be real hard being a total contrarian like he is, trying to find artistic merit in late-career Eddie Murphy movies. I wonder if he thinks Adam Sandler in Jack and Jill and That's My Boy demonstrates the kind of clownish comedy that Jerry Lewis could only dream of?


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PostPosted: Wed Mar 01, 2017 11:20 pm 
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Brody's Bunuel analogy is pretty spot-on. It's by far the best satire to come out of the US since I don't know when. The opening is a kind of non-sequitur against the rest of the film, but posits the theme running throughout - there are no "safe places." Peele does an excellent job upending the tropes of horror, especially in scenes with police where a sinister undertone pervades the normal comfort cops bring in the genre. All the more interesting is the target of the film. Peele said he wanted to avoid the easy steretype of the Rust Belt Racist, and certain lines by Whitford like "I would've voted for Obama a third time!" provide a great send-up of the rather oblivious white liberal. Get Out wears its influences on its sleeve, cribbing from Stepford Wives and Rosemary's Baby, but it feels so much more effective to me. Given where the US is as a country and the abysmal hate that's spread across the country since He Who Shall Not Be Named was elected, it's quite heartening to see this film receive such accolades and commercial success.

I suppose the studio stepped in to market it as another generic horror movie and avoid the controversy of a more provocative title. Regardless, a great film that I hope continues its success at the box office.


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PostPosted: Thu Mar 02, 2017 10:20 am 
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Murdoch wrote:
Peele said he wanted to avoid the easy steretype of the Rust Belt Racist, and certain lines by Whitford like "I would've voted for Obama a third time!" provide a great send-up of the rather oblivious white liberal. Get Out wears its influences on its sleeve, cribbing from Stepford Wives and Rosemary's Baby, but it feels so much more effective to me.

As the audience is getting to know the parents, there are many such hints, some more subtle than the Obama reference, e.g. the word "boy" awkwardly dropped in, not as the condescending epithet, but it's there in a way that raised my eyebrows. Perhaps this is more of a "discomfort film" than a "horror film."

I intentionally saw Get Out "cold" and am glad I did. I had no idea the director had "Rosemary's Baby" in mind but as soon as a character's name was clarified as "Roman," ... aha! :D


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PostPosted: Thu Mar 02, 2017 4:00 pm 
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thirtyframesasecond wrote:
Gregory wrote:
thirtyframesasecond wrote:
Once again he saw whatever he wanted to see and objectively didn't understand the film well: for example his garbled criticism of the film's opening wrongly claims that a character never comes up later in the film, showing that he totally missed a major plot thread involving said person (and possibly didn't even watch the whole film).

And apparently Obama leaving office isn't going to deter White from continuing to complain about him constantly and refer to things like this and The Revenant as "Obama movies." Nine mentions of Obama sprinkled throughout to invoke his straw man of all that's wrong with contemporary culture. It's not as though being out of touch is a liability for him at National Review, like in this same piece where he refers to the 17-year-old The Klumps as an example of a recent movie "so personal and ingenious" that it transcends race.

domino harvey wrote:
I guess RT doesn't include him anymore, because the tally is now up to 135 professional critic reviews and still 100% acclaim
Probably not, as he also defends the Eddie Murphy movie A Thousand Words in this column, which is one of only a few films to have a 0% on RT.


I reckon it must be real hard being a total contrarian like he is, trying to find artistic merit in late-career Eddie Murphy movies. I wonder if he thinks Adam Sandler in Jack and Jill and That's My Boy demonstrates the kind of clownish comedy that Jerry Lewis could only dream of?

You're basically right, as he praised Grown Ups in an almost mawkish way. Not-making-this-up quote:
Armond White wrote:
Note the wet T-shirt ogling that goes from a nubile chick to a middle-aged hausfrau, or the sustained swimsuit-wedgie routine ("That was a man's ass?"). These jokes prove that Sandler isn't class-climbing or youth-pandering like Apatow but affectionately examines the fundamental insecurities of middle-age.

No idea whether he thought the vision behind the wedgie jokes was as strong in Grown Ups 2.

Sorry, this should probably be split off to the Armond White thread.


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PostPosted: Fri Mar 03, 2017 4:52 pm 
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I don't have much to add about the film itself, which was a raw if enjoyable enough horror-comedy that hopefully serves as a springboard for Peele to have the freedom and backing to do some more ambitious and refined work.

That said, I had a moment of near-transcendent irony during my screening that could have come directly from one of K&P's sketches:
[Reveal] Spoiler:
During the scene in which Chris finds a stack of pictures showing that Rose has in fact dated many black men after claiming he was the first, one half of the middle-aged white couple seated directly behind me - just as the protagonist starts flipping through the first couple of photos, featuring men who look nothing like star Daniel Kaluuya - whispers loudly: "Is that him?"


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PostPosted: Sun Mar 05, 2017 1:39 pm 
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[Reveal] Spoiler:
Buñuel is a good comp, but I thought this had the most in common with Being John Malkovich.


Really enjoyed this. Peele is a heck of a talent, and the screenplay goes to really interesting places, none of which he can't match with preternatural directing talent. Our next Spike Jonze?


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PostPosted: Mon Mar 06, 2017 9:26 am 
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mfunk9786 wrote:
[Reveal] Spoiler:
Buñuel is a good comp, but I thought this had the most in common with Being John Malkovich.


Really enjoyed this. Peele is a heck of a talent, and the screenplay goes to really interesting places, none of which he can't match with preternatural directing talent. Our next Spike Jonze?

This is exactly what I thought as well...
[Reveal] Spoiler:
The cult of old white people selfishly looking to extend/improve their lives plus that hilariously-dated "orientation" video definitely draw comparisons to the Jonze/Kaufman film.

I was heartened that the Sunday afternoon screening I attended was nearly sold out with a well-represented mix of age and ethnicity. I like to think that audiences are responding to Peele's fresh satirical approach and not just the horror elements.


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PostPosted: Mon Mar 06, 2017 11:02 am 
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Judging from some of the stuff Peele's been retweeting (or tweeting himself), this film is a release for a lot of people. Whether it be their creativity, or just exuberance. I'm happy to see this sort of subversive film get such a large mainstream audience. Chance the Rapper bought out every ticket for a day at the movie theater in his Chicago neighborhood, inviting strangers to show up and watch it for free.


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PostPosted: Mon Mar 06, 2017 1:47 pm 
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The film only dropped 22% in its second weekend, this is going to be the rare horror movie with legs. Every year we get critically-acclaimed horror movies early on that get floated as potential Oscar nominees to no avail, but you gotta think the studio will invest some of these returns in an awards campaign at this point


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PostPosted: Mon Mar 06, 2017 1:52 pm 
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I can see it occupying the same space as something like 10 Cloverfield Lane, where it's absolutely one of the best films of the year but it comes out so early and is so grounded in genre that it's not looked at with the same serious eye as something that's fresher in voters' minds, whether because of prestige credits or a late year release. I hope I'm wrong and it slips into Best Original Screenplay (or, as long as we're being optimistic, a Best Actor nomination for Daniel Kaluuya) though, the same way I had my fingers crossed for a John Goodman Supporting Actor surprise.


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PostPosted: Mon Mar 06, 2017 1:54 pm 
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[Reveal] Spoiler:
Image


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PostPosted: Sat Mar 11, 2017 8:02 pm 
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Where to stream the movies that influenced Get out


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PostPosted: Tue Mar 14, 2017 2:02 pm 
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Peele is now the first African-American writer-director to have a film earn over 100 million in box office. Not bad for a first time out.


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PostPosted: Tue Mar 14, 2017 2:07 pm 
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I was seeing it as first African-American writer-director with a 100 million debut, which is a bit narrower- is it overall? That's a little depressing, in a way.


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PostPosted: Tue Mar 14, 2017 2:14 pm 
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There's definitely been a few black directors who grossed over 100 million.


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PostPosted: Tue Mar 14, 2017 2:16 pm 
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It was the "writer-director" part that caught my eye


Last edited by flyonthewall2983 on Sun Mar 19, 2017 2:04 pm, edited 1 time in total.

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PostPosted: Thu Mar 16, 2017 2:02 am 
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There's so much to talk about here that I'm not sure where to begin and certainly leave stuff out either through forgetfulness or not wanting to punish people with a tome of my awful writing. Just that Peele is able to throw in a split second visual gag about Bing being the search engine of evil or that Jesse Owens being talented is the origin of the plot shows a subtle genius that I love. Though probably the thing that is most impressive is that despite this being an extremely well made movie, it won't happen though I am hoping that it gets a sound editing oscar, all the talk is on the thematic end of the spectrum which so rarely happens let alone this universally. I'm afraid on one end of the spectrum some fans aren't looking with much reflection since this movie should be absolutely guilt inducing to the sizable coastal liberal audience this was marketed to (a huge part of the artistic genius for me is how savvy in recognizing who his audiences are Peele seems to be). Certainly, for me, a large part of the distress the film caused was looking over my life and all the intensely dumb bits of benign racism I was seeing mirrored in the villains. Even something like when the girlfriend stands up to the cop is deeply uncomfortable because of how despite resulting in a net good it comes across as presumptive and forcing an engagement when Chris really didn't want one. Admittedly since starting teaching the presence of unconscious biases making life miserable for those I love or am working for has been a constant on my mind, but Get Out really draws that out in a way that I think could be very healthy and therapeutic in bringing out self awareness if the audience is willing to be self reflective.

On the other side of things, and I suppose I'm fortunate to be in a situation where I can do this two hander, Chris' fear and all he experiences here is relatable in a way that only the meeting the parents joke in Annie Hall has felt before. It's easy to become paranoid questioning yourself if people are actually putting on an act or if your awareness of your own difference is making you hypersensitive to every little thing. Just the other day walking home from work a group of kids walk by and I swear one of them shouts out Hitler out me, but I'm not sure if that's true and even if it is these clearly aren't white supremacists so maybe they just wanted to see how I'd react. More in line with the film I've been left absolutely miserable at some jobs because of how with benign intent some co-workers interact with me wanting to talk religion or Israel as if they were things I wanted to (I'd much rather talk about books of the school system usually). Though I think what the film captures the best is the deeply uncomfortable feeling of being the lone minority in a place, but then spotting another of the tribe and getting deeply uncomfortable on how to act as if even acknowledging our shared difference will result in something bad or worse yet false occurring. The scene which gives the film its title is so horrifying in way that can really only be observed internally and being trapped in that sinking pit, what a great metaphor Peele develops, playing reality out for yourself.

There's a few other things on my mind, but I need to think them out plus its late and like I said I'm not good at writing long form analysis.


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PostPosted: Sun Mar 19, 2017 12:56 pm 
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Really, really loved this film. Such an excellent combination of race-based satire and horror. I don't know if these are overt influences but I keep thinking of the white dudes really embarrassingly appropriating African-American culture in Bamboozled and the also one of the episodes of Atlanta (and the Childish Gambino and Lakeith Stanfield, connections are there) Brian Yuzna's Society with the whole white-bread world hiding some really weird secrets, even Cabin in the Woods (for Bradley Whitford - if you've seen this, you'll get what I mean hopefully). I've been trying to catch up on Key and Peele's comedy, which never came over to the UK - luckily Comedy Central has stuck loads of the sketches up on YouTube. Watching with an animated audience was awesome - again for those who've seen it, you'll know which bits.


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PostPosted: Sun Nov 19, 2017 3:17 pm 
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Jordan Peele wrote:

Jordan Peele's thoughts on the Hollywood Foreign Press Association (HFPA)/Golden Globes classifying his film as a comedy.

Although there were moments of humor in the film, I never considered it a comedy. It is a well crafted blend of genres, but just because there's humor in it doesn't mean it's a comedy. I would consider The Martian a comedy before I thought of Get Out as one.


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PostPosted: Sun Nov 19, 2017 7:51 pm 
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The HFPA has no integrity, so they are probably positioning it this way because they want to give it an award but don’t want to award it over a more “serious” drama film. C.f. Almost Famous, Vicky Cristina Barcelona, American Hustle all winning for best “comedy.”


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PostPosted: Sun Nov 19, 2017 9:14 pm 

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knives wrote:
Just that Peele is able to throw in a split second visual gag about Bing being the search engine of evil...

Not sure I follow, the film pretty obviously advertises Microsoft throughout. Everyone's using surface pros, Chris uses a microsoft phone, bing to search... it was a bit excessive.

Guess I'll be the one guy who thought this was just alright. Some plot devices were hard to buy into like the hypnosis, and his girlfriend doing a 180 personality change. It also resolves itself in a really rushed way, there wasn't much of a third act. Still a decent flick, but structurally it felt a bit loose.


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