Get Out
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2017 in Ten Double Features
Why not pair, rather than pit against one another, the great films of a given year? This was the question that led me to reconsider the year-end top-10 list in terms of double features. In 2016 and 2015 I ranked my favorite double features of the year on this very site. I love the double bill for its flexibility. You can pair films based on any connective tissue: style, setting, subject matter, theme, time period, director, star. Viewing and thinking about films this way urges you to consider them anew. What do we think of the suburban woes of Lady […]
by Soheil Rezayazdi on Jan 3, 2018 -
Watch: Jordan Peele’s Gothams Get Out Best Screenplay Gothams Acceptance Speech
“When I started to write this film, I set out to make a movie that would be my favorite movie that I’d never seen,” said Jordan Peele when accepting his Best Screenplay Gotham Award for Get Out from the legendary Lois Smith (nominated for Best Actress for Marjorie Prime) and The Florida Project‘s Brooklynn Prince. “I didn’t know that it would ever actually get made.” Peele returned to the stage later in the night when the breakout horror film also picked up the Bingham Ray Breakthrough Director Award and Audience Award. “It’s so important that we support these voices from the outside, […]
by Filmmaker Staff on Nov 28, 2017 -
Reactionary Wokeness
Near the beginning of Peter Watkins’s still-astounding 1971 fictional dystopian documentary Punishment Park, one of the African-American defendants, Lee Robert Brown, is hauled in handcuffs before a makeshift, extra-legal tribunal in the sweltering California desert, where he is instructed to defend his counter-cultural militancy. He says, in part: “You talk as if this is some great, civilized, nonviolent place. It ain’t. America is as psychotic as it is powerful and violence is the only goddamned thing that will command your attention.” These lines floated to the top of my head while sitting though James Mangold’s Logan, widely praised for its […]
by Nicholas Rombes on Jun 16, 2017 -
DP Toby Oliver on Get Out, Cheating the Sunken Place and Color Grading Trailers
Sometimes you have to go where the market pushes you. And after nearly twenty years behind the camera, the market suddenly wants Toby Oliver to shoot horror films. The Australian cinematographer lensed three fright flicks last year alone, all for the low-budget genre juggernaut Blumhouse. He’s practically become Blumhouse’s version of Hammer’s in-house DP Jack Asher. The most recent of Oliver’s horror efforts to hit screens is Get Out, a Guess Who’s Coming to Dinner?/Stepford Wives hybrid in which black New York photographer Chris (Daniel Kaluuya) travels upstate to meet his white girlfriend’s family (Allison Williams and parents Catherine Keener and […]
by Matt Mulcahey on Apr 7, 2017 -
Spoiler Alert! How to Tell the Story Without Telling the Story
(WARNING: There will be spoilers) When Charlie McDowell’s mysterious film The Discovery debuted at Sundance last January, its distributor, Netflix, premiered a teaser trailer along with it — a good strategy, considering the film’s intriguing premise (that science has proven the existence of an afterlife) and its abundance of plot twists. No spoilers, please! A beautiful piece of promotion for a dark sci-fi romance ostensibly about life after death but essentially about a person looking for his soul mate, the teaser uses Roy Orbison’s “Only the Lonely” for an 88-second music-driven montage (a song not used in the film but well-suited for […]
by Stephen Garrett on Mar 23, 2017 -
Working Through Fear: An Interview with Blumhouse’s Jason Blum
Driving down Beverly, you head opposite Hollywood, away from Studio City, toward the nondescript, single-level, brown-bricked building that’s the literal Blumhouse — the offices of horror movie maestro Jason Blum. Since founding the company, Blum has produced dozens of films that have made varying degrees of impact on the zeitgeist: the found-footage scares of the Paranormal Activity films, the reinvented haunted house of the Insidious pictures, the social violence of The Purge series. And then, of course, there’s megahit Get Out, Jordan Peele’s ferociously intelligent satire on racism that, despite its share of lobotomies and knifings and violently applied white […]
by Scott Macaulay on Jan 25, 2017
