Archive for February, 2017

Get Out (dir. Jordan Peele)

Posted: February 24, 2017 in Uncategorized

“Get Out” is one of the smartest films about race I have seen in a long time. By dealing with implicit racism and “positive” stereotyping (you know, like all black men being good at sports or having large penises) rather than the easy material of explicit, KKK-type racism,the film captures the more prevalent racism embedded into the national psyche. It’s easy for affluent, bourgeois white liberals to scoff at the rednecks and alt-right racists who speak out against Black Lives Matter and think every unarmed black man gunned down by police had it coming. It’s another for them to look inward and think about their own racial prejudices, benign as they may seem when left unexamined. Much like “Rosemary’s Baby” and “The Stepford Wives” were satirical horror films (both based on novels by the same author, Ira Levin) about upper class society not quite accepting feminism, “Get Out” is about upper class white society’s role in the perpetuation of racism against men and women of color.

Chris (Daniel Kaluuya) is a photographer with a white girlfriend, Rose (Allison Williams). They’re about to visit Rose’s family for the weekend, and Chris is worried that her family might not be as understanding of their daughter dating a black man as she seems to think they’ll be. Rose assures him that her parents are not racist, and in fact her father would have voted for a third term of Obama if he could have. “I voted for Obama” seems to have replaced “I have black friends” as the go-to white evidence that someone is not racist, and writer/director Jordan Peele knows it. On the way up, their car hits a deer. They called the cops to report it, and the cop wants to see Chris’s ID even though Rose was the one driving. Chris, living as a black man in the United States, is used to having to cater to white authorities despite having done nothing wrong, but Rose stands up to the cop, and that is that. This is the first of a few ways the film shows the audience, particularly the white audience, that living as a black man in America contains certain hurdles that white people don’t necessarily experience. If both Rose AND Chris had been white, it’s unlikely the cop would have asked to see the passenger’s ID for a simple our-car-hit-a-deer call.

All of this is going to set up something this film is doing to turn the horror genre on its head. Normally in a horror film the protagonist is a young (white) female, as that person has traditionally been seen as the most vulnerable person in our society. “Get Out” presents a number of racial-specific dangers to basically present its black male protagonist as specifically vulnerable under the circumstances, as a way of showing us how, in real life, black men are vulnerable in ways that other (white) people have the luxury of not being vulnerable in. If I, a white guy, get pulled over by the cops, I’m mostly worried about getting a ticket. If a black man is pulled over by the cops, these days he probably has to worry about getting murdered, or at the very least harassed to an extent that I, as a white man, would not be. Remember the ending of the original “Night of the Living Dead” from 1960? In that film the black male protagonist, after surviving zombies, ends up shot to death by the cops because they mistake him for a zombie. In “Get Out”, we are constantly worried that Chris might face the same fate because he’s black, and there might be a misunderstanding as to who is the victim and who is the villain.

When Chris and Rose arrive at her family’s place, things seem a bit…unsettling. Her father, Dean (the great Bradley Whitford) keeps using “hip” phrases like “my man”, as if he saw on TV that phrases like that are the sort of “cool” language you’re supposed to use around black folks. He also goes on and on the importance of learning from other cultures, about Jesse Owens showing up those damn Nazis at the Berlin Olympics and, yes, even Obama. he basically just stops short of saying “I am so very cool with you blacks.” The mother, Missy (Catherine Keener) is a therapist who wants to use hypnosis to make Chris quit smoking, and keeps making unsettling sounds with her spoon and a blue & white tea cup. The family also seems to have two black servants: a maid/housekeeper, Georgina (Betty Gabriel), and a groundskeeper, Walter (Marcus Henderson). They seems like they stepped out of “Song of the South”, embodying the stereotype of the “happy negro” much like Uncle Remus did in that racist Disney film. There’s something…off…about them, and Chris picks up on it. They smile, but they speak in stilted, 1950s language, and seem a little dead behind the eyes.

Then there’s a family and friends get together on Rose’s family’s estate. All of these rich, bourgeois whites who don’t have much interaction with black people on a daily (or even yearly) basis keep trying to flatter Chris when, in actuality, they are being offensive. There’s the old guy who used to be a golfer and wants Chris to know that he’s met Tiger Woods and is “the best”. There’s the other old guy who says black people are “in” as the new cool thing (whatever that means). And then there’s the older woman who squeezes Chris’s bicep muscle, looks at Chris’s crotch in an unsubtle fashion, and has the audacity to ask Rose, in front of Chris, if “it’s true”, obviously referring to the black-men-have-large-dicks stereotype. That sort of fetishization of black men is rampant in American pornography aimed at white people, both the men who see a white woman being with a black man as degrading and to white women who view having sex with a black man as “taboo” or “exotic”. It’s a subject you don’t see confronted in mainstream film that often, and this one scene brings it to light.

At this same party, Chris runs in to Logan (Keith Stanfield), who looks dressed out of the 1950s and has the same odd, old fashioned cadence that the housekeeper and the landscaper have. Chris thinks he recognizes Logan, but there’s no way he could have known someone like this. Their interaction is odd, and then Chris takes Logan’s picture while his camera’s flash is on. Logan begins to bleed from the nose, shake, and tries to attack Chris after screaming “Get out!” By this point, Chris is sure that it’s not just these people are weird and implicitly racist, but that something abnormally sinister is going on here.

We get some comic relief from Chris’s TSA friend Rod (Lil Rel Howery), who basically tells Chris that these people are clearly insane and probably brainwashing black people to be their sex slaves. Chris shrugs that off, but agrees he should get out of there as soon as possible.


What turns out happening is that Rose’s family, going to back to her grandfather, came up with a medical procedure to implant people’s consciousness into the bodies of others. The person implanted would have control, and the original inhabitant of the body would be able to see and hear everything going on, but would no longer be in control. Think John Cusack at the end of “Being John Malkovich”. So, this bourgeois white community has been using Rose to lure black men (and the occasional black woman) to this neighborhood, and the affluent white citizens have bid on these black men, in much the same manner as a slave auction, to be implanted into their black bodies. Why? Positive stereotypes. Maybe they want to be a black man so they can be a better athlete, or a better lover for their wives, or just because being black is “cool”. These people aren’t kidnapping blacks because they think they’re inferior, like the white supremacists do. They are kidnapping them because they think blacks, in some genetic and societal aspects, are SUPERIOR. That’s a helluva thing to base a film around. The fact that white people, despite being racist in the exact opposite way as your traditional racist, are still bidding on black people like chattel and reducing black people to empty vessels or property, is a searing indictment of how delusional and unperceptive some people in real life can be regarding their own prejudices. While “Get Out” is largely concerned with race, the class element is here too. Because this town is full of rich white people, whose wealth allows them to live in a place which geographically and economically isolates them from many black people, their perception of black people is skewed by lack of first hand knowledge, allowing them to objectify and idolize black people. This is a pretty “woke” film, as traditional films about racism, good or bad, don’t usually explore this particular razor’s edge of white attitudes toward people of color.


I also want to point out the excellent sound design and terrific score of this film. Some of the score is traditional horror movie stuff, but other parts, such as the opening theme, evoke the scores of 70s horror films from musicians like Goblin. The sound design, which pays close attention to making sounds that wouldn’t ordinarily be unnerving, like a spoon on a teacup for squeezing one’s fingers on an old leather chair, really add to the unease the audience feels while watching this film. While I wouldn’t call “Get Out” scary, it is certainly unnerving. The film makes you uncomfortable while you watch it (probably more so if you’re a black person watching it, I’d imagine). Discomfort is a feeling you don’t often feel at the movies, and as such it almost feels more powerful than if the film were more traditionally scary.

“Get Out” is incredibly intelligent and nuanced, but not so nuanced that an audience won’t get what the film is trying to say. Some horror film audiences might not be as astute (the kind of horror audiences who would rather see “Rings”, for example), but otherwise this is a really superb film using the horror genre as a vehicle to discuss areas of race relations not normally covered in film…or hell, anywhere really. Well done, Jordan Peele. Well done. A-


I still don’t have time to write full reviews of every film I’ve been seeing, so here’s more mini-reviews.

If I weren’t an atheist, I’d probably find this film more powerful, and thus better. As it is, the film is kind of interesting from the perspective of Japan viewing Christianity as a European imperialist tool to turn the peasantry against the ruling government. Still, most of the main conflict is about whether Christians will denounce their god to save themselves, or suffer to be martyrs like they believe Jesus was, and wether suffering as a martyr is selfish and prideful when falsely renouncing (because your heart and beliefs can stay the same regardless of your actions) could save others. As someone who thinks faith is the dumbest thing in the world, I mostly was angry that characters chose to suffer and die, or cause others to suffer and die, because they refused to disrespect for renounce a false deity. So to me, the film is about stupid, pig-headed people (the Jesuits), the sad brainwashed fools (the Christian peasants), and the ruling party which commits atrocities, even as it has legitimate grievances with imperialist religions. I have no one to care about or root for, and the film ended up being a well-shot, well-acted movie that was too long and contained characters I didn’t care about, or down-right loathed. C

Patriots Day
This film was better than I expected. I have a big issue with the fact that they turned this real life event into essentially an action film, full of tone-deaf one-liners and comic relief that I found disrespectful and unnecessary. I also hated the Mark Wahlberg character, who through plot conveniences is always involved in the action, and who is the one character in this thing who is not even a real person, making the inclusion of this annoying and unlikable character that much more egregious. There are also legitimate quibbles with the film glossing over political issues surrounding the attacks, like whether basically having martial law with a militarized police was really necessary, and about civil rights violations with regard to the interrogation of one of the bomber’s wife. Still, the film was often times powerful, and aside from a few moments of bad writing when the film follows the bombers, I found the film to be a tense and accurate depiction of the events as I recall reading about them. The touches to show that the film takes place in Boston are maybe a bit much (Dunkin Donuts! Stop & Shop!), and the epilogue at the end featuring the real people was too transparently an attempt to avoid criticism of cashing on on a recent tragedy and being disrespectful. I did like that the film spent almost as much time focusing on the victims as on the perpetrators, as many films about these types of tragedies only focus on the perpetrators and law enforcement. So, this is a deeply flawed movie with glaring issues, but the things that it does well, it does REALLY well. B-

This film was extremely loosely based on a real life incident that happened in the 90s, and the setting was changed to the 80s to…I dunno, I guess the filmmakers thought the 80s aesthetic was better to evoke better films like “Wall Street”, “The Wolf of Wall Street”, “American Hustle”, and other, better films this movie so desperately wants to be considered in the same category as. The story is mildly interesting, involving a failed mining executive and a geologist who strike gold in Indonesia, or seem to, and the hardships and possible crimes committed in the process, but the story doesn’t have as much meat to hold the whole thing together. Matthew McConaughey does a good job, and the film is perfectly watchable and entertaining enough, but its pretensions at being more only to fall way short hold this film back. There’s not enough social or political commentary to elevate this to be anything more than a TV movie story. C+

Manchester by the Sea and Fifty Shades Darker have been covered in Youtube videos, so I won’t write mini-reviews for them here.

The Comedian
The film has tonal issues between whether it wants to be a drama, a comedy, a dark comedy, or a dramedy. Individual scenes work, but the film has no narrative thrust to propel it forward. The idea of Leslie Mann falling for the much older Robert DeNiro feels like ludicrous wish fulfillment on DeNiro’s part (he championed this film and fought to get it made). The cast and cameos are pretty good, but not as good as they could have been. For a film co-written by Jeff Ross, he of the great Comedy Central roasts, this is a disappointing film that could have been a big screen version of “Louie”, or at least a Woody Allen-esque spin on the stand-up comedy world and aging, past-their-prime celebrities. The film was enjoyable enough to watch, but it feels like the screenplay got muddled up after a decent idea spent too long brewing. C+

The Space Between Us
This movie didn’t know if it wanted to be a Nicholas Sparks or John Green-esque YA love story, a fish out of water comedy, a drama, or anything else. The concept behind the film is quite good, and individual scenes are also really good here and there, but the film see-saws from slapstick to drama, with unearned drama and horrible dialogue, and keeps changing the intelligence level and naivety of its main character, that the whole thing feels like a mess. Another 2 or 3 screenplay drafts could have probably harnessed this thing into a good movie, as all of the elements for one are there (or maybe they should have handed the story to a different writer to polish it), but as it exists this is a jarring, inconsistent misfire. I liked enough of it to not hate it, but the bad parts are obviously, groan-inducingly bad. C

John Wick: Chapter 2
The first really good movie of 2017. While it lacks the emotions of the first film (it wasn’t just that they killed his dog, it’s that the dog was a gift from his dead wife, and the last connection he had the one piece of his life where he was happy), but otherwise this film is almost as good as the original. The action is spectacular, and again the camera doesn’t cut all the time so you can actually see and ENJOY the action and know where everything is in relation to everything else. The world-building and mythology is expanded upon without getting mired in exposition, and all in all this is a top notch, solid, and highly enjoyable action film. I loved it. A

The Lego Batman Movie

This is a cute and funny film, but not as gut-bustingly hilarious as I had hoped. As a satire of Batman, it works pretty well. I enjoyed seeing villains who have never been on the big screen before (Clayface, Egghead) included with the usual villains. The visuals are enjoyable, the voice acting was spot-on (loved Arnett’s Batman and Cera’s Robin, though I wasn’t as impressed with Galifianakis’s Joker), and if the film drags in the middle or loses its humor by the end, that awesome first act still makes up for a lot of the film’s sins. B

A Cure For Wellness
The biggest problem with this film is that it is a mystery where you can easily solve the mystery by the end of the first act. Also, the film goes on for 20 minutes too long and has some repetitive story beats that could have been condensed of excised entirely. However, this film is often visually stunning. The first act has a David Lynchian feel that, sadly, the rest of the film doesn’t quite have. I enjoyed that this film, which is of the Gothic Horror variety, had a nice tone of dread throughout and didn’t rely on jump scares (like many theatrically released horror films these days). The subject matter is similar to other films, but unlike “Shutter Island”, which was a film I felt was a waste of A-list actors and an A-list director since it was a mediocre B-movie, and thus angry that those talents weren’t used for a more worthy film, this film feels like it reaches a satisfactory level of quality. Dane DeHaan is an underrated actor, and he shines in this film. Mia Goth is also quite good as the female lead. The film’s social commentary is odd (sort of about feudal lords and the peasantry joining forces against the bourgeoisie…weird) and not as deep as it seems like it’ll be in that first act, but at least its there. This is also, so far, the only Gore Verbinski film I have actually liked. B

Fist Fight
This was just a fun movie. I enjoyed it more than I expected to, and while I didn’t laugh hilariously, there were enough small and medium-sized laughs for me to consider this a good comedy. They try to throw in some social commentary about the education system, but it’s lackluster and feels half-hearted. The callbacks to other Ice Cube movies and songs were cool, and the cast all played their usual roles to a level that I was pleased to see them do. It’s funny, I laughed a good amount of time, and I enjoyed myself. B