Oh Tom what have you done? Even with the sound fixed this looks bad, like Suicide Squad dimensions of quantum interstellar density black-hole bad;
Stephen King fans like myself have been waiting for years to see lovely Pennywise in the shivering flesh, as let’s face that 1990’s TV adaptation is not good. Finally he’s here to tell us ‘we all float down here’;
When I first heard of the fevered instruction Get Out in the context of a horror film my mind listlessly wanders to this sequence from suburban squirm fest The Amityville Horror, a yuppie nightmare of home ownership, economic stress and familial strife lurking behind those white picket fences. A submerged evil uncoiling in suburbia continues in this culturally incendiary movie, the debut effort of comedian Jordan Peele of Comedy Central Emmy Award winning smash Key & Peele fame. Riding the crest of a spectacular word of mouth wave with screenings literally bringing the house down – even us jaded critics are citing it as the best fun they’ve had as an audience inclusive experience in years – the movie is a 2017 cluster of cultural gelignite, an explosive comment on modern race relations, liberal guilt and an increasingly diverse and fractured first world society. Naturally, as a die-hard horror fanatic I couldn’t wait to see what all the fuss was about and with a few minor reservations this is a terrific little picture, combining an iconoclastic brew of The Stepford Wives with Guess Who’s Coming To Dinner?, garnished with a deadly dose of The Wicker Man for good, gruesome measure.
Budding student photographer Chris Washington (Daniel Kaluuya, probably best known as Emily Blunt’s partner in Sicario) and his girlfriend Rose Armitage (probably best known as one of the quartet of leads in Girls that isn’t Lena Dunham) prepare for a weekend trip to meet her wealthy yet staunchly liberal parents, Dean and Missy, portrayed by a perfectly cast Catherine Keener and Bradford Whitford. Chris is understandably nervous at meeting his partners folks, always a potentially stressful experience in the first phases of a serious relationship, an anxiety which is enhanced by his being a person of colour and her pure WASP pedigree. Rose placates his nerves by assuring him that her parents are so liberal that they are sure to impress him with their support of the then sitting president, and her prediction that they would explain to him that they have voted for Obama again if he could have stood for a third term soon comes to pass. Initially all seems quaint in the impressive Connecticut suburbs, but small details of unease start to coalesce – the house groundskeeper and domestic assistant (both of African-American ethnicity) affect a glassy-eyed, robotic subservience which no-one else seems to notice, and certain phrases and behaviours of the Armitage’s extended family and friends seem slightly off-kilter and…strange. I’ll say no more as it is crucial that you into this experience as ignorant as an Alabama knitting circle, as a horrific plot slowly materialises out of the midnight mists….
It is difficult to dance around this one and retain spoiler integrity so I’ll just say that the praise the film has attracted is definitively deserved, in yet another storming debut to the horror movie Hecate. Although it follows the contours of a horror film, especially the concept of a naive, increasingly suspicious innocent being inculcated in a deadly conspiracy the social and political themes are smoothed under numerous narrative and allegorical levels, so that a second viewing will be essential to judge who finely Peele’s excellent script was engineered. The jump scares are kept to an intensified minimum, the film preferring to build an increasing sense of mysterious dread through which the thumbscrews are tightened, before all hell breaks loose in a final and expectation flouting finale. All the leads are solid and treat the material with the respect it deserves, it plays more serious than other horror-comedy hybrids like The Evil Dead or An American Werewolf In London for example, struck more from the mould of The Cabin In The Woods with a deft understanding of genre conventions.
TSA agent and Chris’s best friend Rod Williams (LaKeith Lee Stanfield) is the comic relief, the surrogate for the audience whom plays a sassy, exuberant sort and gets most of the films belly laugh lines, even if at times it feels he’s wondered in from a Wayan brothers picture. The good news is that Peele has revealed he has scribed four other horror scripts before he got this one off the ground, and given its $5 million budget to its stratospheric $150 million (and counting) return I’m positive we’ll be seeing more from him soon. Just to be slightly contrarian as a genre nerd I’d have preferred it if it had spent just a little more time moving through the central film’s plot premise, I think some of those narrative nuances got a little lost in the mix, but to be fair the more I’ve thought about it the satire is revealed to be more deeply layered and constructed that a first impression suggests, with visual metaphors and plot devices building a deft oratory on the diseased state of the American body politic. This is simply essential viewing, a vibrant new addition to the pantheon of pandemonium that squirms in the recent slipstream of The Witch, It Follows and The Babadook, so Get Out and see it immediately. A-hem. Sorry;
This has been slowly garnering some brutal buzz, as a modern Lovecraft interstellar eldritch horror in the vein of early Carpenter or Cronenberg. Pun intended;
Beyond happy that they have produced a documentary of this fantastic book which I read a couple of years ago. It’s an apt reminder of what cinema can do in difficult times, and the influence the experience had upon the five when they returned to the industry is fascinating as a historical and artistic document – their work and the world they operated in was never the same;
Jesus Christ on a xenomorph this is looking increasingly wretched – maybe like how Promethea had a great trailer and was bad, this has a bad trailer and is….good? Yeah, I know, I’m clutching at interstellar straws. The casting doesn’t help either, I just can’t take Danny McBride nor James Franco seriously in this universe, and nice to see the fate of one character spoiled already. …yes I’m there opening weekend ’cause its Alien, but it will be be arms firmly folded and legs crossed, awaiting to be impressed;
Oh, and that whole ‘post-credits-sting-action-beat’ technique thing can also go fuck a duck….
Ah, it looks as if we have this years must see horror movie already, I’ve been hearing some very good things about this;
I’ve been hearing some great things about this, a perfectly observed cult movie pastiche which manages to balance that fine line of homage and genuine affection laced humour;
It stormed Frightfest last week and is coming to a very modest release and VOD over the next couple of weeks. In other news yes, plenty of Scorsese material is imminent, I jus need to find the time to finalise each of the reviews which I’ve outlined and researched. In fact I’m off to another screening tonight so next week is going to be….hectic;
‘Neoliberalism sees competition as the defining characteristic of human relations. It redefines citizens as consumers, whose democratic choices are best exercised by buying and selling, a process that rewards merit and punishes inefficiency. It maintains that “the market” delivers benefits that could never be achieved by planning. Attempts to limit competition are treated as inimical to liberty. Tax and regulation should be minimised, public services should be privatised. The organisation of labour and collective bargaining by trade unions are portrayed as market distortions that impede the formation of a natural hierarchy of winners and losers. Inequality is recast as virtuous: a reward for utility and a generator of wealth, which trickles down to enrich everyone. Efforts to create a more equal society are both counterproductive and morally corrosive. The market ensures that everyone gets what they deserve.’ Well, ‘deserve’ being the operative word in that synopsis of the last few decades, which alongside the utter incompetence of my countries political ‘leaders’ has brought us to the events of today and the final triumph of the neoliberal ideology, one of the saddest days of my life. No, I’m not American but the inauguration of this….thing, this corrupt, sexual assault boasting, racist, disabled mocking, draft dodging, veteran insulting, tax-dodging, treasonous, lying, incompetent – remember he couldn’t even make a fucking casino, the most lucrative mechanism in human history profitable – selfish psychopaths is still beyond comprehension. It still feels like we have slipped into some alternate reality where great swathes of fellow humans have been revealed as the venal, ignorant hate bloated leeches that wouldn’t be alien to some 1980’s B movie, and thats increasingly arising in Europe as much as North America. Now, this is a film blog of course but I had to put a marker down for this day in some appropriately mediocre fashion, lots of people have been going with Chaplin, others with Ahnoldt, especially given the 2017 setting and notion of a dystopian future where a reality TV star manipulates the psyche of the masses. It’s a dark, dark day with worse to come, but you have to laugh when the real slogan of this goose-stepping, ascendant movement completely unironically utilises the same slogan as this prophetic series;
You have to laugh when entertaining but undeniable B movie schlock turns out to be the most accurate barometer of political and social developments, don’t ya? One of those high-pitched, gibbering laughing fits which gets more shrill and higher pitched before degenerating into screams……Now you may have seen the the incandescent fury generated by the alt-right – sorry, that the fucking fascists – appropriating Carpenters 1988 now prescient masterpiece for their own pathetic propaganda, for which Carpenter immediately bitch-slapped them down. Their intellectual idiocy and rhetoric is just beyond parody, but at least they seem to be falling into civil war among themselves which is a small mercy…….
Naturally, in order to embellish this grim marker of this dark day I have to go with the Kubrick in order to accompany the parade of incompetent, spectacularly unqualified and raging sycophants already toadying to the throne, if the president elect wasn’t bad enough the individuals this regime has surrounded itself with is just, simply…it just…..well, words fail me as usual. In this period of unequivocal proven man made climate change, well, if in some political movie script you appointed the CEO of fucking Exxon as the Secretary Of State you’d be laughed out of every pitch meeting in California, yet here we are, as the world slowly burns. So finally here’s a little prophetic clip of the US President calling his
boss friend in the Kremlin, as we also see the resurgence of a destabilising, fiscally annihilating global nuclear arms race – so cheer up, if the climate doesn’t get us, or rather your children and grandchildren, then the lunatics will;
Would like to see a trailer for one of 2017’s early tipped cult movie mist sees? Well, OK, then allow me to indulge you in probably this years only Polish carnivorous Mermaid time-travel musical pictures;