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Well hello there
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Feb 6, 2019 18:26
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flashy_mcflash posted:Well hello there Now that's a poster.
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Feb 6, 2019 18:56
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Isn't that the exact same shot as the climactic scene in Get Out, though? Except this time with added mask?
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Feb 6, 2019 19:21
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flashy_mcflash posted:Well hello there Incredible
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Feb 6, 2019 19:27
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flashy_mcflash posted:Well hello there  It's creepy as hell and I love it!
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Feb 6, 2019 21:28
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COOL CORN posted:Isn't that the exact same shot as the climactic scene in Get Out, though? Except this time with added mask? It's similar for sure, but I don't remember if there was ever a poster for Get Out that was framed quite like this. Most of the ones I've seen are a full body shot of him in the chair.
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Feb 6, 2019 21:41
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flashy_mcflash posted:Well hello there Birth Movies Death has an article about this, and in it they have a quote from Jordan Peele where he kind of expresses frustration with the fact that Get Out has sometimes not been categorized as a “true” horror movie, and his whole m.o. with Us has been “motherfucker this is a horror movie.” I’m happy the marketing is reflecting this intent so well.
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Feb 6, 2019 22:30
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Fart City posted:Birth Movies Death has an article about this, and in it they have a quote from Jordan Peele where he kind of expresses frustration with the fact that Get Out has sometimes not been categorized as a “true” horror movie, and his whole m.o. with Us has been “motherfucker this is a horror movie.” I’m happy the marketing is reflecting this intent so well. Didn't really seem like a "true" horror movie to me, either. The level of fright felt more like a thriller.
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Feb 6, 2019 22:45
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Fart City posted:Birth Movies Death has an article about this, and in it they have a quote from Jordan Peele where he kind of expresses frustration with the fact that Get Out has sometimes not been categorized as a “true” horror movie, and his whole m.o. with Us has been “motherfucker this is a horror movie.” I’m happy the marketing is reflecting this intent so well. That's a weird way to spin the movie appearing to be a straightforward home invasion/body snatchers horror movie with none of the social commentary or depth that made Get Out such an eye-opening debut and major crossover success in the first place.
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Feb 6, 2019 23:17
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Not every movie Peele makes should be required to be Extremely Woke or else. Let the man make his movies and enjoy them if they’re good.
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Feb 6, 2019 23:23
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Lobok posted:Didn't really seem like a "true" horror movie to me, either. The level of fright felt more like a thriller. Get Out is the definition of existential horror.
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Feb 6, 2019 23:24
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Black people are not only required to make art about black pain.
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Feb 6, 2019 23:28
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Kinda weird that all you need to do to make your horror movie “crossover “/be only “kinda horror “ is to be black and characterize the horror as racism. Get out is already a totally straightforward body-snatcher movie a la the stepford wives plus a scream-esque black comedy. It’s social commentary isn’t this external/crossover element, it’s a completely consistent element of the genre. Not pointing fingers, just being testy. Frankly, I think any critic who watches get out and it scans to them as being somehow beyond “mere” horror A) has terrible taste and is just elitist about genre cinema in general, and/or B) is just fetishizing blackness in the exact same way as the movie’s bad guys.
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Feb 6, 2019 23:32
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Also, not for nothing, but a reminder that Get Out was nominated for Best Picture - Musical or Comedy at the Golden Globes. So I can definitely see where Peele’s frustrations come from, in terms of how the movie was classified upon release.
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Feb 7, 2019 00:09
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The Golden Globes are a hot crock of poo poo.
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Feb 7, 2019 00:28
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Fart City posted:Also, not for nothing, but a reminder that Get Out was nominated for Best Picture - Musical or Comedy at the Golden Globes. The producers chose to submit it in that category
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Feb 7, 2019 00:39
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Awards mean absolutely nothing when it comes to the value or quality of a film. Get Out felt solidly like a thriller with some light horror elements to me. I wouldn't call Peele a "master of horror" yet, though "Us" looks interesting.
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Feb 7, 2019 01:04
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Get Out was pretty solidly a horror movie imo, but it was very much on the defanged and comedic end of the spectrum; the existential implications of it are horrifying, but most of the actual "scare moments" are basically jokes.
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Feb 7, 2019 01:47
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The MSJ fucked around with this message at 03:11 on Feb 7, 2019 |
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Feb 7, 2019 03:03
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Is Keanu a horror?
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Feb 7, 2019 03:13
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we can all rest easy knowing that claude rains didnt live to see the invisible man in “doom patrol” and “the league of extraordinary gentlemen”
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Feb 7, 2019 03:15
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I'm sure he was a big fan of the comic in the last four years of his life.
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Feb 7, 2019 03:21
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LORD OF BOOTY posted:Get Out was pretty solidly a horror movie imo, but it was very much on the defanged and comedic end of the spectrum; the existential implications of it are horrifying, but most of the actual "scare moments" are basically jokes. That describes a lot, if not most, of critically-acclaimed horror. I think good horror always has an existential element to it, because if you strip that away, there's very few "scare moments" the genre that aren't funny or at least absurd. It just jumps out, so to speak, in Get Out because it uses racism as that element which is something horror doesn't explore very much.
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Feb 7, 2019 03:22
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The Saddest Rhino posted:Is Keanu a horror? No, but it deals with the idea of The Double, which is becoming an interesting thread for Peele. K. Waste posted:Kinda weird that all you need to do to make your horror movie “crossover “/be only “kinda horror “ is to be black and characterize the horror as racism. Nah, I think it was because of how much comedy there was. The sidekick/friend character goes beyond comic relief into straight comedy. Also lol wtf, your post has smartquotes, did you literally write it in Word?
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Feb 7, 2019 03:32
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KOTEX GOD OF BLOOD posted:we can all rest easy knowing that claude rains didnt live to see the invisible man in “doom patrol” and “the league of extraordinary gentlemen” That's not the Invisible Man, that's Negative Man. He's a guy merged with some kind of radioactive alien ghost thing. The look is clearly inspired by the Invisible Man, but in Negative Man's case the bandages protect people around him from his radioactivity. The Doom Patrol is actually pretty cool, the basic idea is that it's a group of heroes whose superpowers are also disabilities, and vice versa. They handle problems too weird for the Justice League. When the world is threatened by a painting that can observe the people observing it, when the Brotherhood of Dada wants to free everyone's mind with the bicycle that was ridden during the very first LSD trip, call in the Doom Patrol! Gripweed fucked around with this message at 03:38 on Feb 7, 2019 |
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Feb 7, 2019 03:35
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Also someone thought it would be funny to cast noted handsome man Matt Bomer and have him completely covered up.
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Feb 7, 2019 03:36
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Baron von Eevl posted:Nah, I think it was because of how much comedy there was. The sidekick/friend character goes beyond comic relief into straight comedy. I mean, that’s the other disconnect. Film horror is rooted in trick films and farce. A horror film having a broadly comic tone is often endemic to the inherent absurdity of its premise and certain generic preconditions of how and why spectators relate to these macabre spectacles. The farcical overtones of Get Out are, for instance, not particularly more severe than Bride of Frankenstein, The Tingler, Re-Animator, or, again, Scream. Get Out is about a guy who gets kidnapped by a mad scientist who wants to cut out his brain, of course it’s funny. Its being ridiculous is not mutually exclusive from its being a horror movie, just like overt social commentary isn’t mutually exclusive from “real” genre cinema.
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Feb 7, 2019 06:52
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muscles like this! posted:Also someone thought it would be funny to cast noted handsome man Matt Bomer and have him completely covered up. At a guess, Cliff is going to have flashbacks and/or be introduced with his crash. It's a logical starting point for the character.
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Feb 7, 2019 08:59
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So are they piecing sound clips for Rickles?
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Feb 7, 2019 11:24
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C-Bangin' it 
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I wouldn't be shocked if they had all of his lines recorded years ago, since animated films take so long to produce—just look at the Chris Farley lines for Shrek. Though Pixar movies seem to go through so many creative changes late in the game that I wouldn't be surprised if the narrative changed significantly since then and they had to work around it with regards to his character.
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Feb 7, 2019 11:29
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flashy_mcflash posted:Well hello there 
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Feb 7, 2019 11:31
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feedmyleg posted:I wouldn't be shocked if they had all of his lines recorded years ago, since animated films take so long to produce—just look at the Chris Farley lines for Shrek. Though Pixar movies seem to go through so many creative changes late in the game that I wouldn't be surprised if the narrative changed significantly since then and they had to work around it with regards to his character. Apparently he had not recorded anything for it.
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Feb 7, 2019 11:35
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Jim Varney was not alive for Toy Story 3, so they haven't got a problem replacing a side character.
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Feb 7, 2019 14:30
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No more tours for real this time - Ozzy is in hospital battling the flu and someone at his age will most likely die from it.  Also the Doom Patrol episode in Titans on Netflix was REALLY good and got me hyped up for the show. Titans itself is a little too CW for me but I am interested in where things go.
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Feb 7, 2019 15:31
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K. Waste posted:I mean, that’s the other disconnect. Film horror is rooted in trick films and farce. A horror film having a broadly comic tone is often endemic to the inherent absurdity of its premise and certain generic preconditions of how and why spectators relate to these macabre spectacles. rich old white people wanting to put their brains in strong young black bodies is absolutely not the farcical part
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Feb 7, 2019 16:13
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scary ghost dog posted:rich old white people wanting to put their brains in strong young black bodies is absolutely not the farcical part that being actually possible is, however, the farcical part like, yeah, rich old white people want to do that, but that doesn't mean it's gonna end well if they actually try, IRL that would probably just end up with two dead people.
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Feb 7, 2019 16:16
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LORD OF BOOTY posted:that being actually possible is, however, the farcical part 
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Feb 7, 2019 16:30
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LORD OF BOOTY posted:that being actually possible is, however, the farcical part youre a moron
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Feb 7, 2019 18:04
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I’m suing Jordan Peele for cultural appropriation now
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Feb 7, 2019 18:16
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scary ghost dog posted:rich old white people wanting to put their brains in strong young black bodies is absolutely not the farcical part No, there is a farce in that, too. Because even respective of what Booty notes, the self-evident, that it is not actually possible to put your brain in someone else's body; nobody, least of all rich white boomers, want to have strong young black bodies. That's not even an accurate characterization of what happens in the movie. What the film depicts is the manner in which that, to a society of white supremacy and wealth privilege, blackness becomes a non-exclusive fetish that can stand for anything. This includes virility (the gold-digging trophy wife and her husband have a cuckold fantasy), this includes stamina and strength (grandpa still can't get over Jesse Owens' "natural" superiority over him). But it also includes perceptions that go beyond physicality, such as the perception that the black man is more authentically creative and has more "soul" (the blind photographer wants Chris's "eye"), or that old black women are more devoted homemakers and caregivers to their white surrogates (grandma is reborn as a black maid). Finally, and most importantly, however, is the belief expressed through the Armitage family's commercial/propaganda for their procedure, which has nothing to do with strength or virility or even youth, but even demonstrably contradicts it with a utopian fantasy: That modern science has obliterated the empirical basis of race - we are all just human beings - and through scientific advancement we can move towards a better society that resolves the inequalities created by historical racism. The issue is that, while modernity has done away with the empirical rationale for racism, it has done nothing to address its ontological structure, in which how we define what is human is preconditioned by the values of European colonialism and white supremacy. So the Armitage's vision of a more perfect union is one in which black people are basically processed by affirmative action to be fully integrated into white high society, but under the precondition that they be given "white brains." Saying that these various beliefs are farcical is not the same thing as saying they aren't dangerous. Something can be both incredibly damaging to a person or entire social group and still be patently stupid. And as far as horror, the entire motivation behind making Get Out as a horror movie with literal mad scientists, brain transplants, and rich people cults - as opposed to just a melodrama about a young black man who can't get along with his white girlfriend's implicitly biased parents and social echelon - is to escalate a mundane aspect of life (white people are racist and believe a lot of stupid and dangerous poo poo about black people/how to make the world better) to a farcical, macabre extreme (rich white people literally want to kidnap black people, cut out their brains, and take on their bodies as their own). To not address this farce, or to characterize this farce as somehow being a kind of social commentary that goes beyond generic horror, is to tacitly ignore, like, just the basic logical leaps that are inherent in characterizing the villains of the film this way. Like, presumably, what these characters want is not functionally dependent upon blackness in any way. They are seeking a fountain of youth. They just want to extend themselves and perpetuate their own interests. The leap from this to "we need to abduct black people, cut out their brains, and auction off their bodies" has this whole Underpants Gnomes step 2 that is never clarified or resolved. Potentially, it's just easier to abduct and exploit black people than a white person, but that's not what we're shown in the film. We are shown a demonstrative, cult-like fetishism, where no one acknowledges the monkey's paw here: That you will now be black, that in spite of whoever you were in your past life, you will now just be this identity-sapped shell of a person who is rendered completely subservient to the whims of your own ungrateful children, with only your own myopic past-times to fulfill you. The social commentary of the film doesn't supplant its generic preconditions. The social commentary is the form that those generic preconditions are taking. So, to return to the comparison to what we've seen of Us, which appears to be "just" a straightforward body-snatcher/home invasion thriller - Get Out is also an abundantly straightforward bodysnatcher movie and home invasion thriller, with just the latter part being inverted to be from Chris's perspective. The set up for the movie is even as classic a B-movie set-up as you can get: An enterprising young person makes a necessary visit to their love interest's family, only to discover that the family harbors some diabolical secret, that the family has a history of madness, that the farther is conducting perverse experiments that defy the laws of nature, etc.
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Feb 7, 2019 23:13
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