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Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
Get Out is an incredibly strong directorial debut from Jordan Peele and is easily in the top tier of horror/thriller movies in the last few years.

He manages to craft a film that has an underlying sense of unease throughout, an aspect of the film that hardly lets up at any point.

The plot revolves around Rose (Allison Williams) taking her African-American boyfriend Chris (Daniel Kaluuya) away for the weekend to meet her very white family. Chris has reservations, understandably, due to the fact that casual racism is a thing that unfortunately exists. As the weekend draws on, Chris begins to realise that his worries perhaps aren't that unfounded. The only other black people around are house servants, and are acting strange, and it's doesn't take too long before a truly disturbing truth is discovered. To say any more would spoil the narrative, but it's a great plot, with a ridiculous twist.
Layered underneath the madness of the horror is a strong social commentary about race divides, and how a lot of white people perceive others. It's executed brilliantly, and is absorbing as much as it is uncomfortable.

The cast are terrific, especially Daniel Kaluuya, Allison Williams, Betty Gabriel, and LaKeith Stanfield.
Catherine Keener is another highlight - I'm so used to seeing her play good people, that the sinister nature of her character in Get Out is so unnerving, and adds even more the experience.

With both Get Out, and last year's Us, Jordan Peele has started his career in horror on a hot streak, and I can't wait to see what he brings to the table next.
  
Mrs. Doubtfire (1993)
Mrs. Doubtfire (1993)
1993 | Comedy, Drama, Family
This film started my love affair with the wonderful Robin Williams and his loss feels raw even today.

Mrs Doubtfire has become something of a cult classic over the years and its impressive script means it still remains relatable today – and just as hilarious.

Chris Columbus, who later went on to direct the first two Harry Potter films crafted a near-perfect adaptation of Anne Fine’s Madame Doubtfire. Most people don’t realise the film is based on a novel, and I have to admit, I only discovered this a few years ago.

Even decades after its theatrical release, Mrs Doubtfire proves films can still throw up a few surprises if you look deep enough.

https://moviemetropolis.net/2017/07/04/films-that-influenced-me-adam-brannon/
  
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Lee (2222 KP) rated Get Out (2017) in Movies

Jul 26, 2017  
Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
Slow, brilliant build up. Hugely satisfying ending (0 more)
The trailer spoils most of it (0 more)
Amazingly, I managed to head into Get Out having not even seen the trailer. It had been appearing more and more frequently on my news feeds recently, usually accompanied by a lot of positive buzz, and usually featuring an image of lead character Chris, wide eyed and terrified, with a tear running down his cheek (note that I’ve continued this trend with my review!). Described as a racial satire/horror it just didn’t really feature high on my watch list, but I booked a ticket to go see it, wanting to see what all the buzz was about. I’m kind of glad that I went in relatively blind as to what to expect though, as I was absolutely blown away by it.

Daniel Kaluuya plays Chris, a young black man dating a white girl called Rose (Allison Williams). He’s preparing to go and meet her parents for the first time but he’s a bit unsure as to what they’re going to think about him, despite Rose assuring him that he’s got nothing to worry about. When they arrive at the huge house out in the country, her parents really are fine with Chris. And they take every opportunity during their conversations to be positive about race and to assure Chris that they’re fine with him too, to the point where Chris (and us) begin to feel a little bit uneasy. This unease isn’t helped by the fact that there are two black servants in the house, neither of whom have very much to say and both acting very strangely. At night, the housekeeper wanders quietly around the house while the groundsman sprints around outside in the dark!

Paranoia and tension continues when a large group of family friends arrives for a party and they all seem very keen to get to know Chris and bond with him. One of the guests even has a black ‘companion’ who is also acting strangely. Despite the assurances from all, things definitely are not OK…

Of the little I read about Get Out beforehand, one of the reviews that stuck with me most described it a little bit like From Dusk Til Dawn in the way that everything suddenly all goes to shit in a hugely enjoyable and unexpected twist. There are definitely no vampires or anything similar in this movie, but I felt that it was a pretty good comparison. The movie spends a long time putting you on the edge of your seat, building up the tension, providing plenty of food for thought on modern day racism and adding the odd bit of welcome comedy relief from Chris’ friend on the end of the phone trying to support him. It’s all hugely enjoyable and even though you can guess pretty early on what’s going on, it’s all still hugely satisfying when the truth finally is revealed and the violence and action take over.
  
Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
ritten and directed by Jordan Peele, “Get Out” is not so much an actual horror film but more of a dark comedy. The plot is filled with political undertones, spotlighting awkward racial interactions that are shadowed by systemic inequality.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a vibrant young couple living in the city. He’s a photographer. Not sure what she does. He’s black. She’s white. After dating for four months, Rose convinces Chris to go on a trip to meet her parents. Chris is apprehensive at first and skeptical about how her parents will react to meeting their daughter’s black boyfriend. Rose laughs that off and everything seems fine as they head to the country.
From this point forward the film starts to build in creepiness. It almost has the feel of an M. Night Shayamalan movie like “The Village.” As the plot develops, the audience knows they are supposed to be suspecting something creepy and sinister hiding behind images of normalcy. So everything begins to take on this feel. Rose’s family lives in a creepily perfect mansion in the country. They have a creepily quiet black groundskeeper and a creepily happy black maid.
Fortunately, two things save this film from becoming a hokey Shyamalan style disappointment. The plot is executed in a comedic fashion and it isn’t completely predictable.
The entire film balances a creepy-funny style. Moments of white people awkwardly trying to appear not-racist also build a suspenseful feeling that something darker is behind the surface.
Rose’s mom Missy (Catherine Keener) specializes in hypnosis. It quickly becomes clear that Missy is using mind control tactics to basically enslave black people. Under her spell, her victims take a psychological fall into a dark abyss and are left in a robotic state. It would have been nice if this aspect of the plot was given more screen time.
The film picks up pace when Rose’s parents host a “family” get together that actually turns out to be essentially a “slave” auction. It almost takes too much time to get to this point in the plot. A few more moments, and it would begin to feel like trudging through a repetitious build up. From here forward, it becomes pretty fast paced as Chris desperately tries to escape a horrific fate.
“Get Out” probably won’t actually scare anyone, but it is highly entertaining in a very dark way.
  
The Dukes of Hazzard: The Beginning (2007)
The Dukes of Hazzard: The Beginning (2007)
2007 | Action, Comedy
4
4.0 (4 Ratings)
Movie Rating
April Scott as Daisy Duke was hot - which is half of the appeal (2 more)
The stunts were decent - which is the other half
Harland Williams is hilarious, and I'll watch basically anything with him in it
Most of the cast - not necessarily that they were bad, but some were a bad fit for the characters (2 more)
The writing sometimes felt like a parody of itself.
The stunts were only decent.... and this is Dukes of Hazzard, where the stunts are the key.
Inconsistent and dumb
Ugh. And I thought the first movie was bad. Basically, this movie wants to be The Dukes of Hazzard meets American Pie but winds up closer to a parody of the classic show crossed with one of American Pie's less competent knockoffs. At times it hits the mark, true, but other times its almost more like a parody of the Dukes than it is the real deal. April Scott was decent in her role as Daisy, and turned out not to be just a mannequin for the shorts and crop-top, but the two leads? Less than stellar. Harland Williams is hilarious, but he's not a good fit for Sherriff Coltrane, who is supposed to be at least a little menacing if memory serves. Chris McDonald has made his career playing the corrupt businessman/politician role, which means he does it well, but his turn as Boss Hogg was just a generic rehash of a dozen other roles. As a final nail in the coffin the TV budget hampered the stunts to the point of not being able to save it. Go watch the show instead.
  
Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
Psychologcally Disburing
Jordan Peele goes from comedy to horror, as his directorial debut, he does a excellent/fantasic/phenomenal job. Going from one genre to anethor is hard, but Jordan Peele did the impossible, and he successed, all expectations. This film is psycologically twisted, horrorfyng, suspenseful and thrilling till the very end.

So this movie does have a theme, This disturbing film ... is really about how white America has mastered its relationship with black America. Within all of the interracial tension is the white American’s strange envy of the grim determination, melancholy humor, and creative strength of the black race. ... But Peele’s irony is that white America will continue to do what it does despite these truths, and, sadly, so must black America remain hypnotized.

The film also depicts the lack of attention on missing black Americans compared to missing white females. Slate's Damon Young stated the film's premise was "depressingly plausible ... Although black people only comprise 13 percent of America's population, they are 34 percent of America's missing, a reality that exists as the result of a mélange of racial and socioeconomic factors rendering black lives demonstratively less valuable than the lives [of] our white counterparts.

Peele does a excellent of this theme, of the world that we live in today and his views on it.

The Plot: Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy and Dean. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.

This film is a must watch, if you havent seen it, than go and see it. Its psycologically twisted, horrorfying, thrilling, suspenseful and overall excellent.
  
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LoganCrews (2861 KP) rated Kevin Hart: What Now? (2016) in Movies

Sep 19, 2020 (Updated Nov 26, 2020)  
Kevin Hart: What Now? (2016)
Kevin Hart: What Now? (2016)
2016 | Comedy
Once again I appreciate Kevin Hart's energy and strong presence as a performer, but this just felt like a first draft for a weaker Chris Tucker set. The 'movie' bits didn't really do a whole lot for me but I admit it's a clever idea that maybe would have landed harder if not for Tim Story's flat, chintzy coverage. I like the black and gold aesthetic, and the tour itself has a handful of mild laughs - albeit sporadically. But my main problem with this is that there's a surfeit of innately hilarious setups followed almost exclusively by not-so-funny payoffs. Setting up jokes where he asks an audience member if they'd still be with their partner if an orangutan hopped the fence and stole his kneecaps or a genius segment about Hart's wife sucking all the numbing cream off his dick should by all accounts be comedy gold in their own right... but not when they're followed with ungodly long Katt Williams-esque tangents about how funny it would be to pretend to walk like you can't bend your legs like you're that annoying kid who thinks he's funny in second grade - complete with the same obnoxious running jokes repeated seemingly 500 times over and appallingly bad impersonations or whatever. By the end I just didn't care. The notion of a stand-up mogul - as boasted in its advertising - certainly is an intriguing one, though this seems like such a lukewarm set to peddle that distinction. But with some greater optimization this could have been epic.
  
Get Out (2017)
Get Out (2017)
2017 | Horror, Thriller
“It really doesn’t matter if you’re ‘Black or White”.
Due to a mixture of holiday, work commitments and sickness (I would not wish to inflict my bronchial cough on ANY cinema audience for a while) I haven’t been to the cinema in over a month… shocking. But it has given me a chance to catch up on some of the films in 2017 (and a few from last year) that I hadn’t got to see. So this will be the first of a series of such “DVD” reviews.
“Get Out” was written and directed by Jordan Peele and was his directorial debut. And a hot item on his resume it is too.

Daniel Kaluuya (“Sicario”) plays African-American Chris Washington who, nervously, takes a trip ‘upstate’ to meet the parents of his cute white girlfriend Rose (Allison Williams). The parents, Dean (Bradley Whitford, best known as Josh Lyman from “The West Wing”) and Missy (Catherine Keener, “ Captain Phillips”), are extremely welcoming.

But the weekend coincides with an “annual gathering” of family and friends, and events quickly take a left turn into “The Twilight Zone”, with anti-smoking hypnosis and a bizarre game of Bingo where the win is so substantial that playing becomes a ‘no brainer’. Can Chris ‘Get Out’, with his mind still intact, before it’s too late?

This is a really clever script by Peele. The film baits you into thinking this is some redneck-inter-racial-revenge flick, but actually the colour of the skin is almost irrelevant. (Or is it? This angle is left deliciously vague). Some of the filming is spectacularly creepy, with the hypnosis scene being reminiscent to me of the excellent “Under The Skin”. And never has a teaspoon in a cup of tea been a more devastating weapon.

I seemed to have talked at length this year in this blog on the subject of the “physics of horror”: the story elements hanging together in a satisfying – albeit sometimes in an unbelievable – way. “Get Out” delivers this to perfection, keeping its powder dry until the closing moments of the film before delivering a series of satisfying “Ah!” relevatory moments.

While the ‘physics’ of the film is good the ‘biology’ is bonkers, featuring a plot point from the terrible first episode of the 3rd season of the original “Star Trek” (if you can be bothered to look that up!). But I’ll forgive this, parking my incredulity, to salute what I think is one of the year’s most novel and impressive low-budget indie horror films.
  
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LeftSideCut (3778 KP) rated The Cabin in the Woods (2012) in Movies

Dec 29, 2019 (Updated Jan 22, 2020)  
The Cabin in the Woods (2012)
The Cabin in the Woods (2012)
2012 | Comedy, Horror
I absolutely love The Cabin in the Woods. It's masquerades as a straight up horror flick but with a ridiculous curve ball thrown in(no spoilers here, but seriously, watch it already!), that manages to subvert everything you would expect from a standard slasher type horror.

The cast are all great - Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, and Jesse Williams - all play typically heightened stereotypes of the kind of run of the mill teenage cannon fodder you usually find within the genre, and with the film's tongue firmly in cheek, it hard to not like any of them.
Then you also have Richard Jenkins and Bradley Whitford providing the majority of the comic relief, and the two of them together are pretty funny, and seem to be having a ball filming.
The narrative of The Cabin in the Woods is the secret ingredient here though. It's fun, it's different, and when the aforementioned twist arrives, it shifts heard pretty quickly, providing one if the most absurd and memorable final acts I've seen in a horror movie.

The gore and violence on display is truly astonishing, and it's nice to see that the effects teams on board used a lot of practical effects to achieve a lot of this, with digital effects used only when necessary. The costume designs for a certain aspect of the film are fantastic as well (still trying to avoid spoilers).

I can't for the life of me see why anyone who likes horror wouldn't get a kick out of The Cabin in the Woods. It tries to do something different, and in my opinion pulls it off with flying bloody colours, and is easily one of my favourite horrors out there.
  
New Jack City (1991)
New Jack City (1991)
1991 | Action, Drama
Good Movie
Released in 1991, New Jack City takes place in the late 80's with the perfect vibe to boot. A time during which Kangol hats and "gold ropes" were in and rap needed a hard bass beat to be considered car system-worthy. New Jack is a solid groove of a film that remains timeless even to this day.

While a handful of spots were farfetched, I appreciate the grit and realness of the film as a whole. It's an open awareness into the crack epidemic and how badly it damaged black communities. It's hard watching people destroy the lives of those in their community knowing full well their lives gave them little choice to do much else. In one of my favorite scenes, antagonist Nino Brown (Wesley Snipes) is having a meaningful conversation with an older man. At the heart of the conversation, they talk about how black people haven't gotten far from a societal progression standpoint since Martin Luther King Jr. died. No matter which side of the argument you're on, both had strong points that made you think.

The lead roles were consistently strong throughout. Chris Rock excelled in his role as Pookie, a crackhead trying to get his life together. You come to sympathize with his character hoping for a happy ending, but knowing the fate he is destined for. And you can't mention lead roles without giving Wesley Snipes his proper due as Nino Brown. Nino is smooth, a speaker for the people. His presence oozes with power in the criminal circuit yet the law sees him as just another delinquent. I give Rock the nod, but Snipes is a very close second.

Ice-T plays the role of Appleton, a cop hired to take a bite out of the crack epidemic by taking out one of its largest suppliers: Nino. The film as a whole is not without its faults as it lacks cohesiveness in certain spots. While the main actors are outstanding, the supporting roles are ghastly at best. I could definitely have done without Keisha (Vanessa Williams). If I heard "Rockabye baby" one more time, I'm pretty sure I would have lost it.

Not a classic for me, but still a consistent watch. I give New Jack City a 75.