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Despite some flaws that have been talked about, I really enjoyed this and it kinda cements Peele as probably the horror filmmaker I'm most interested in right now. There's so much creativity here, you can see the sources and all but they synthesize in interesting ways. (Not just cinematically either, I think there's a bit of Stephen King in how the story works.) The humor didn't bother me at all- this sort of thing never really takes me out of the moment, and I felt like the tone overall, while not overtly satirical, was one that allowed for some levity or for sometimes the characters to just acknowledge how hosed up it all was. If you use George Romero as a baseline (and why not), this sits somewhere between Night of the Living Dead and Dawn of the Dead. The actual problem- Yeah, the monologue at the end goes on too long and explains too much. Like I wouldn't want to sacrifice all of it but the pacing suffered a lot. That said, it leaves a lot to think on, in terms of a culture overthrowing the old, the idea of nature vs. nurture, adventures in misguided social engineering, etc. Kinda Cronenbergian. I understand on a certain level it's better not to explain, horror is about the unknown, etc. but another part of me really enjoys digging into mythos and weird horror backstories. In the end I think it works quite well. Intense and weird. Fart City posted:Something I love is that the first 20-30 minutes kind of strip away you consciously being aware that Winston Duke is a loving brick shithouse by sketching him as a dad joke-loving dork, but then Abraham shows up and you are instantly reminded that the dude is like eleven feet tall and probably bench presses semi trucks. Oh he was great. So relentlessly devoted to embarrassing his children.
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Mar 24, 2019 05:40
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| # ¿ May 22, 2024 04:49 |
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Bert of the Forest posted:The last shot of the Tethered wall stretched out for miles reminded me so much of a Junji Ito style visual, it immediately brought to mind other similarities between Peele's and Ito's work. Both have an eye for strong and utterly unique/memorable horror visuals, a knack for metaphorical/fantasy realism storytelling, and a tendency to seemingly build a loose framework of a plot to support the other two things they have a greater interest in. Through that lens the film became less frustrating by far, and I might even prefer it to Get Out in the long run if only in superficial terms just for the sheer imagination on display. I'm definitely gonna get a rewatch in as soon as possible. I've seen someone else mention Junji Ito, I hadn't thought about that but there is definitely something. Wonder if Peele has ever cited him as an influence.
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Mar 26, 2019 07:45
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Just because you don't see a thing doesn't mean it doesn't exist- we don't see whatever bathroom facilities they had, they probably had some, judging by the rest of the facility it wasn't too pleasant.
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Mar 27, 2019 05:24
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Alan_Shore posted:The way to fix the whole film is get rid of the government thing, make it a creepy cavern, make the tethered shadow people or something and just don't loving explain it, job done This just guts the entire thing though, because the idea is, this is something that society made. This is a thing that we, as a country, did that we're getting punished for. We created an underclass, imprisoned and abandoned them, and now they're getting back at us.
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Mar 27, 2019 05:33
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Okay surely we understand the idea that a "plot hole" is something that outright *can't* happen given the logic of the story, not just "it's not explained why this character did this" or "we don't see the specific mechanism by which this is achieved." Indeed, a note on the latter, Mary Shelley's Frankenstein (by which I mean the original book not the Branagh film) NEVER discusses how the creature is brought to life. It's just, Victor puts together the body from various parts, yadda yadda yadda, creature gets up and starts moving around.
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Mar 27, 2019 19:28
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BeanpolePeckerwood posted:Many of the most complex or hard to digest films in the history of the medium have clearly been about ________ * Counterpoint: the entire filmography of David Cronenberg is about engaging some interesting weird ideas but refusing to articulate a Clear Thesis about them. The entire thesis of Videodrome can change depending on how much of it you think is really happening and how much is in Max's head. Also David Lynch, when asked the meaning of his films, kindly refuses to say.
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Apr 2, 2019 06:53
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“I know writers who use subtext and they’re all cowards.”
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Apr 2, 2019 16:04
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DeadFatDuckFat posted:I'm just kind of confused as to what the movie is trying to say with the twist ending reveal. Why does it matter that they switched? The main character doesn't seem to be psychopathic other than the grins that she gives in the end. Its not like the doppelgangers aren't victims too, alongside their above ground counterparts that they kill. The point is the difference between the two isn’t inborn or essential- that the people down below are screwed up from being kept below, they’re not inherently different. This has certain implications for similar social divisions in American history, such as, well, slavery (it was once posited that slaves who attempted to escape were suffering some mental illness, forget what they called it.) For more recent examples, well, “superpredators”. Maxwell Lord fucked around with this message at 07:42 on Apr 6, 2019 |
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Apr 6, 2019 04:26
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General Dog posted:Us feels like a movie that has very little faith in the audience’s ability to get the point I mean, given the last page I wouldn't blame it.
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May 28, 2019 08:28
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| # ¿ May 22, 2024 04:49 |
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Race and class are pretty closely intertwined in America. Also, it can be about two things.
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May 30, 2019 07:51
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