|
Neo Rasa posted:People are saying this stuff now that they've seen the movie but literally the only thing the trailer "gives away" is that this woman uses hypnosis to make black people her servants which ends up not even being close to the full extent of what's going on. I would even say that the trailer is a pretty effective red herring that leads you to assume the movie is just about hypnosis/brainwashing. You can't get the full extent of the story from the trailer so the "twist" is a pleasant escalation of the concept that feeds from the viewers' expectation that they already think they know what's going on. One thing that bothered me a little was Rose turning into the terminator after the reveal. Like, I get that she's a sociopath that lures men into this horrorshow but at the same time, her parents and brother were just murdered you'd think she'd have some emotional response to that. Also, never call the cops, jesus christ what are you doing man.
|
#
¿
Mar 8, 2017 20:22
|
|
|
|
| # ¿ Apr 26, 2024 01:37 |
|
|
Thirsty Girl posted:That was totally intentional. I'm totally sure it was. Nothing in this film feels out of place or accidental. I understand it in the way it works as a movie, to highlight just how completely manipulative and predatory she was. I was just slightly bothered that it didn't feel like a "real" person would act that way, sociopath or not. But, you know, horror movie. Franchescanado posted:Sociopaths and psychopaths do not emote empathy and sympathy, even for family. This is a girl that laughs at biting off the tongue of a person she is attracted to. They don't have sympathy but I'm pretty sure they still have emotions like fear and anger and frustration. Her whole world was just destroyed, you think she'd be at least mad about it Not really a big gripe at all, though. This movie was loving excellent and I hope Peele does more stuff.
|
|
#
¿
Mar 8, 2017 23:36
|
|
|
Steve Yun posted:In a white liberal world, Bernie Sanders supporters get mad at you for voting for Clinton because they say it's against your own economic interest, but they still believe in your right to vote for whoever you voted for. I think you're missing the point, dude. There's no such thing as well-intentioned, accidental racism. There's just racism. It all comes from the same place - the objectification of human beings. That's what the movie was trying to convey.
|
|
#
¿
Mar 11, 2017 03:08
|
|
|
Vegetable posted:This movie is a thing of marvel for making people cheer for a TSA agent I'm 100% sure this was an intentional choice for the character. A lot of low level government positions like TSA, DMV, USPS, etc are filled by black people at higher rates than in the public sector and they offer good wages, job security and health/pension benefits for people of color. They also carry a small amount of bureaucratic authority and this makes white people very very angry. Its awesome that Peele was able to put the TSA in a positive light since a lot of the hate that the TSA gets is, at the very least, exacerbated by racist undertones. SuperMechagodzilla posted:As the father explained earlier in the film, the family kept Walter and Georgina around after the actual grandparents died, to fill the void. Walter thus became Rose's surrogate grandpa. OK so you're back to the "it was actually all in the protaganist's mind  " fan theory bullshit.
|
|
#
¿
Mar 19, 2017 19:45
|
|
|
SuperMechagodzilla posted:No; Rose literally slept with Walter because he was a professional runner, like her grandpa was. It was literally a way for her to keep her grandpa alive. By scooping out his brain and surgically implanting her grandfather's brain, literally transferring his personality into Walter's body. If you are saying that this did not happen and that it is the delusional perception of Chris, then you are literally saying "its all in his mind, maaaaan" and flying off into idiot fan theory nonsense. That's the most boring analysis possible. It also necessarily removes the culpability from the racist white families that are literally objectifying black bodies which is why people are, correctly, calling you out for your racist reading of the film. If, as you say, Rose is just loving the hired help and the white people are simply awkward at parties and not actually melon balling black people's skulls then the only possible interpretation for Chris killing them all is sean10mm posted:SMG: The white people were the real victims in Get Out!
|
|
#
¿
Mar 19, 2017 22:07
|
|
|
Martman posted:If the movie has anything meaningful to say about racism, shouldn't that message be true without needing to rely on the literal truth of brain-stealing (something that doesn't actually go on in the real world)? Well, I'm not sure that it can say anything meaningful about racism if the white people aren't doing something nefarious because the alternative is that some black guy flipped out and murdered a family because he felt uncomfortable at a party. Then the message is that racism isn't really that bad and black people should just get over it I guess? Like, what does the film have to say if its just some well meaning white people saying unintentionally lovely things to black people? That that's a thing? Great, every black person already knew that, what a wonderfully pointless sentiment. The entire theme of the film hinges on the objectification of blackness to the point that the white people want to become black people, or rather the idea of black people. If you remove the literal horror element, there really isn't much of that theme left. Now, there is some really interesting analysis that can come out of this concept of the objectification of blackness, including how Chris and Rod engage with it, but it operates on the level of metaphor and subtext. Could the film be done in such a way so that Stephen Root isn't literally trying to steal his black man's eyes but instead is trying to co-opt Chris's artistic vision, a vision informed by his race and background? Sure, Peele could have made that point more subtly if he had chosen to make this something other than a genre flick. I would contend the point is made more forcefully because of the actuality of the horror, though. Not only does Root's character not realize that he can't just emulate the black experience to get what he wants, he thinks he can reach out and physically take it. I'm not sure how you could articulate that in the film if the events are suspect. Martman posted:I think SMG has found a weird way to say "movies use metaphors" that just triggers people hard. It's his teacup. I had originally typed up something to this affect but erased it because I don't actually see anything in their posting that makes me think this is the case. SMG seems pretty invested in the idea that subjective interpretation is actually objective fact
|
|
#
¿
Mar 20, 2017 02:26
|
|
|
SuperMechagodzilla posted:The horror is that, if the film is accepted uncritically, - as Hundu notes - it is strongly against race-mixing. You're gonna have to derive that equation, professor. I assumed Hundu was making some sort of a joke because that poo poo makes absolutely no sense
|
|
#
¿
Mar 20, 2017 18:21
|
|
|
|
| # ¿ Apr 26, 2024 01:37 |
|
|
SuperMechagodzilla posted:Hundu and I are not joking. The film straightforwardly depicts Rod's strong stance against dating white women. "I told you so!" Holy poo poo that's a leap that should've put you in orbit. Rod isn't against black people dating white women. He's distrustful of the reaction of her parents because racism exists. There is a huge difference between the film exploring the distrust that a lot of black people have about white people and making the claim that the director, a black man married to a white woman, is putting out the message that "race mixing is bad". HUNDU THE BEAST GOD posted:Not a joke in the slightest, that is what some people are indeed taking away from the movie, which is a shame. Gonna go out on a limb and say those people were already predisposed to the idea. The film doesn't make that case, however. SMG - maybe you can clarify just what the gently caress you are actually saying about the film. Your posting is nearly incomprehensible and you rely on italicizing phrases instead of using clear language. K Waste made a point that I think is similar to what you are trying to say but also makes it clear that we are examining the metaphorical implications of the film. Like, let me try and restate what I think your thesis is: The events of the film exist as an overlay or "movie version" of some other objective reality where a "real" Chris is struggling with the fear of assimilating into whiteness that comes with commercial success. He encounters other black people that he cannot relate to because they have assimilated and he views them as having been "body snatched". He reacts to this by violently rejecting upper class white society (not with murder and arson, but by burning social bridges), abandoning his girlfriend and running back to blackness as represented by Rod. The events in the movie "happened" in the sense that we are watching an exaggerated version of Chris's personal, internal journey. Is that somewhat close?
|
|
#
¿
Mar 20, 2017 19:16
|
|