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"WE ALREADY GAVE YOU PEOPLE 3 BILLBOARDS drat IT WHAT MORE DO YOU WANT?!" ~ half the academy voters before huffing angrily and agreeing to put Get Out on the ballot too.
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Mar 6, 2018 00:02
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Three Billboards was way better than Get Out imo
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Mar 6, 2018 00:06
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Alaois posted:did someone say Get Out <scoffs> horror can’t be about things. How absurd!
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Mar 6, 2018 00:09
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Gorn Myson posted:Three Billboards was way better than Get Out imo business hammocks posted:<scoffs> horror can’t be about things. How absurd! Some claim that this horror movie had deeper themes about our social issues of the time. To that I say pish-posh! Who ever heard of horror as social commentary, now anyway here's how the blacks are the real racists by making a movie about white people being bad
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Mar 6, 2018 00:11
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Gorn Myson posted:Three Billboards was way better than Get Out imo it, get out, the shape of water and phantom thread were all very good movies imo gently caress Gary Oldman's telephone beating rear end though, and gently caress Winston Churchill
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Mar 6, 2018 00:12
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yea we can all agree a movie about what a great guy the worst dude who didn't throw in with Hitler actually was, played by a wife beating sack of poo poo, getting such praise is basically peak Hollywood Bullshit
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Mar 6, 2018 00:13
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Waffles Inc. posted:it, get out, the shape of water and phantom thread were all very good movies imo Anyway, Get Out is definitely better than The Post and Darkest Hour, but every other movie in the Best Picture category was far better than those three.
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Mar 6, 2018 00:20
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Get Out has much the same problem as Night in the Woods, in that both use a stupid conspiracy plot for social commentary that seems incisive but is undone by its non-sensical absurdity. Night in the Woods has Cthulhu Cult nonsense, and Get Out has body-snatching paranoia. And as with that game, Hot Fuzz pre-empted it by reversing it's basic set-up. Night in the Woods and Get Out both have an absurd conspiracy lurking behind uncomfortable banality, while Hot Fuzz has uncomfortable banality lurking behind an absurd conspiracy. This makes it an incisive and honest story. BravestOfTheLamps fucked around with this message at 00:30 on Mar 6, 2018 |
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Mar 6, 2018 00:21
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Get out looks cool so it's good
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Mar 6, 2018 00:26
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At least when Hot Fuzz has the requisite bit where it takes all its subtle foreshadowing lines and brings them back in overdub to make sure you know it was foreshadowing, it builds to "A GREAT BIG BUSHY BEARD!"
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Mar 6, 2018 00:36
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the twist in Get Out isn't 'paranoia' it's literally a commentary on a genuine major social issue. 'everyone wants to be black till the cops come' is like...a thing...White people wanting to exploit minorities because of exotic reasons is literally what colonialism was based on and the movie was about the modern colonialism, majority figures wanting to own the bodies and image of minorities. The entire root of white supremacy is in simultaneously keeping minorities as subhuman tools and also building them up as super humans who are clearly only fit for labor/entertainment. Black people are both cool and great athletes but also 'lesser' than whites who need to be kept at arm's length. The white people in Get Out want both the super human stereotypes of minorities and also still fundamentally view them as less than human by treating them like spare parts.
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Mar 6, 2018 00:42
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Yeah the reason Get Out is so good is that it takes a simple premise (the cultural reasons why black Americans feel uncomfortable around well-to-do nominally liberal white suburbanites) and literalizes the subtext and cultural issues into a direct, physical horror plot. It’s a brilliant concept and it’s a great movie.
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Mar 6, 2018 00:56
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Three Billboards is still better though
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Mar 6, 2018 01:01
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Gorn Myson posted:Three Billboards is still better though uhhh, hmmm...nope nope
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Mar 6, 2018 01:40
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cat doter posted:uhhh, hmmm...nope
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Mar 6, 2018 01:53
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business hammocks posted:<scoffs> horror can’t be about things. How absurd! look up the comments that academy voters always give on the animation category
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Mar 6, 2018 02:26
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If you seriously thought for a second that Get Out was gonna win best picture then you didn't understand Get Out
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Mar 6, 2018 03:58
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I went to 3 Billboards with my family and none of us could understand why everyone is creaming themselves over the movie. It struck me as wanting to be Fargo but without any of the charm. Like, it was just generally unappealing on nearly every level.
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Mar 6, 2018 04:26
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sexpig by night posted:the twist in Get Out isn't 'paranoia' it's literally a commentary on a genuine major social issue. Well first, what you're of course ignoring is that Get Out is a paranoid fantasy in content and form. It's a horror movie about a murderous conspiracy. The horror comes from paranoid fantasy. Second, this is exactly what I'm talking about when I say that the social commentary seems incisive but falls apart when you think about it. Like you can even notice how you're arguing that the movie's metaphorical/allegorical device simultaneously covers cultural appropriation, colonialism, political correctness, and fetishization. This is such a broad spectrum that it's obvious that the metaphor/allegory doesn't cover any of that. It's not actually consistent, but kind of hollow signifier that seems to have multiple applications, while not actually applying to anything specific. Like the Star Wars movies, whose political allegories are so broad and contradictory that any meanings are contradictory (Palpatine is Bush, Palpatine is Augustus Caesar, Palpatine is Satan - or the First Order is German Nazis, the First Order is Alt-Right, the First Order is Republicans, etc). And third, what you've described are bad things of varying degrees, but the movie is psychotic in proportion to those. Fetishistic admiration for black athleticism is equated with a conspiracy of bodysnatchers who get their comeuppance by being brutally killed. Why exactly must appropriation and fetishism be rectified with death? Like even your own explanation is non-sensical in the context of the movie. Colonialism is not conspiracy, it's by necessity and function a public phenomenon. People who want blackness to be kept at arm's length would not want blackness to be inescapable. Just like I said, the metaphor is meaningless while seeming to have multiple meanings. This is what happens when you try to create an allegory for things like appropration and the Tuskegee syphilis experiment and whatnot simultaneously. If the movie was actually about shallow desire to be black without considering its consequences, the sci-fi allegory would not involve conspiracy, bodysnatch, and murder, just some shapeshifting gadget. BravestOfTheLamps fucked around with this message at 17:34 on Mar 6, 2018 |
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Mar 6, 2018 07:12
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Read into things what one must, but to act like the movie is TRYING to do any one allegory is just stupid. That's not how interpretation works. For example I watch Get Out and read it as the horrors of casual and wide-eyed hipster racism. From the get go when the girlfriend calls him "Blackman" and it could mean like oh, how cute, they can joke about racism... Except I didn't see it that way. I saw it as more of a foreshadowing that this chick is an insane racist. The movie, to me, was about the supposed "liberal" whites who pretend to give a poo poo about black people right up to the point where it is either inconvenient, or the black person calls them out on their own biases. The enemy is the "I was an ally but then this black woman was rude to me on the subway and aren't they all so..." kind of racist . I didn't take away any of whatever madness you have spewed. It reads like madness to me. Just because people have conflicting views about a film/book whatever doesn't mean any one person is wrong. Interpretation of media can be very personal and that's okay. I mean, is anyone here going to submit their ideas to the next PCA/ACA conference? Because the deadline is past.
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Mar 6, 2018 07:27
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failing forward posted:Read into things what one must, but to act like the movie is TRYING to do any one allegory is just stupid. That's not how interpretation works. Again, like I said, the movie seems applicable to many things while not actually being applicable to anything specific. Like you provide the perfect example: what you got from the movie is that it's about the horrors of "casual and wide-eyed hipster racism," which means not foreseeing a conspiracy of white body-snatchers. This is of course non-sensical. And "liberal whites" who only care about black people when it's convenient are not equivalent to psychopathic body-snatchers. BravestOfTheLamps fucked around with this message at 07:36 on Mar 6, 2018 |
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Mar 6, 2018 07:30
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Sure she's psychopathic. Not gonna argue that. But I still see the kidnap and bodysnatching as something else. I see it as a loving reference to other loving horror movies. Just because the movie is made by a black man and has themes about things, you know, black people deal with every day doesn't mean every single thing in the movie is allegorical to that. It's actually lovely to think that and loving with your enjoyment of the film, it seems like. The bodysnatching is a universal, human horror. I saw it as a reference to They Live and, you know, invasion of the loving Bodysnatchers? I also see the psycho girlfriend as the classic white friend/girlfriend who's so great until confronted with the racism of, I dunno, her family and friends and then TURNS on her black friend/boyfriend . The "you're too sensitive/you're seeing racism everywhere" comments get blown up and exaggerated, because remember it's a horror movie(!), Into her family attacking him and her helping. Like, I get that you think a movie being about different things to different people is somehow bad but I don't get why. Like, I got a friend who thinks Ron and Hermione don't belong together but gently caress me do they sure grow together.
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Mar 6, 2018 07:41
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Bottle, Why are you so drat offended at the idea of something possibly being interpreted in more than one way? Not just about Get Out, it's been a consistent theme with your pages upon pages upon pages of posts in this thread.
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Mar 6, 2018 08:17
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Augus posted:Bottle, Why are you so drat offended at the idea of something possibly being interpreted in more than one way? I'm not against "the idea of something possibly being interpreted in more than one way". It's in fact probably impossible to read art without interpreting things in more than one way (for example, how Steerpike in Gormenghast is both completely malevolent but also the representative of human agency and will, in the tradition of great anti-heroes). I was quite clear in my criticism: the allegory of Get Out is contradictory and too broad. It seems to have diverse applications, but does not actually apply well to anything specific. BravestOfTheLamps fucked around with this message at 08:34 on Mar 6, 2018 |
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Mar 6, 2018 08:24
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Because it's their poo poo tier gimmick.
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Mar 6, 2018 08:28
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Interpretations of Get Out by white people are outlawed.
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Mar 6, 2018 08:41
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Get Out wasn't that good. https://twitter.com/AsteadWesley/status/970682166937030657
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Mar 6, 2018 08:55
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Can't believe that guy didn't like Bridge of Spies.
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Mar 6, 2018 09:00
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Get Out - (mildly) hyperbolizes the commodification of black bodies into a horror movie metaphor. BotL - "this is just being paranoid, Hot Fuzz was better because it just made white people look petty, not racist"
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Mar 6, 2018 11:14
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FoldableHuman posted:Get Out - (mildly) hyperbolizes the commodification of black bodies into a horror movie metaphor. A conspiracy and several homicides is mild hyperbole? FoldableHuman posted:BotL - "this is just being paranoid, Hot Fuzz was better because it just made white people look petty, not racist" The village snobs in Hot Fuzz aren't petty, they're murderous lunatics. The advantage the movie has is that it recognizes this lunacy as banal instead of perverse. I think I see your problem: it's inability to perceive things in proportion. Thus Get Out is mild hyperbole, while Hot Fuzz is just about pettiness (  for gore).
BravestOfTheLamps fucked around with this message at 12:59 on Mar 6, 2018 |
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Mar 6, 2018 12:01
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FoldableHuman posted:Get Out - (mildly) hyperbolizes the commodification of black bodies into a horror movie metaphor.
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Mar 6, 2018 12:02
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BravestOfTheLamps posted:Several homicides is mild hyperbole? Philandro Castle, Trayvon Martin, Eric Garner, Michael Brown, Tamir Rice, you dense motherfucker.
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Mar 6, 2018 12:06
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DoctorWhat posted:Philandro Castle, Trayvon Martin, Eric Garner, Michael Brown, Tamir Rice, you dense motherfucker. Are you actually saying that calling Get Out contradictory is equal to devaluing black lives? 
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Mar 6, 2018 12:15
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I think you devalue pretty much everything and everyone in your quest to be superior and correct so I don't see why you'd stop there.
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Mar 6, 2018 12:18
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Great escalation from a mildly abrasive Anita tweet to the shittiest loving takes.
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Mar 6, 2018 12:43
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Kim Justice posted:Great escalation from a mildly abrasive Anita tweet to the shittiest loving takes. Well people will not 
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Mar 6, 2018 13:48
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It's actually worse than it was before his month-long. Before that it wasn't every day. Now it is - it's not even a derail, the entire thread has basically been the BOTL show since he came back, he's worse than ever and endlessly gets attention. Like...when does it end? Seriously.
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Mar 6, 2018 13:56
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I want to know how hbomb has mutual friends with Prison Paul. I want to know how Prison Paul has friends in the first place.
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Mar 6, 2018 14:00
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business hammocks posted:I want to know how hbomb has mutual friends with Prison Paul. I want to know how Prison Paul has friends in the first place. Prison? 
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Mar 6, 2018 14:01
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business hammocks posted:I want to know how hbomb has mutual friends with Prison Paul. I want to know how Prison Paul has friends in the first place.  , that really stood out to me.
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Mar 6, 2018 14:03
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