Tuesday, June 27, 2017

When Film Critics Go Wild

Somebody asked me if I had stopped reviewing movies here because it's been over a month since I did.   Well, frankly, it's been that long since I went out to one.   There is a decided lack of fare that interests me.

That said, there was a recent film that I missed which I recently caught up to on demand.   I had read lots of wonderful notices back in February when "Get Out" was first released.   It's still resounding with some writers who list it as one of the top 10 movies to be released so far in 2017.  What better way for me to make my triumphant return to movie reviewing?  

Indeed, "Get Out" is yet one more example of how people overreact to the diversity push in Hollywood.  It's remarkable how folks bow down and kneel to the likes of Tyler Perry who produce fairly mediocre stuff.  Because, at the end of the day, "Get Out" is not remarkable screenwriting or directing in any stretch of the imagination.   But it is viewed as such because an African-American wrote and directed it.

In this case, the person at the helm is Jordan Peele, who is part of the popular-with-the-kids comedy team, of Key and Peele.   I've seen Key perform separately and was not impressed.    And this production by Peele, while mildly entertaining, is certainly not the historic epic that film critics want you to believe.   Because, at its core, "Get Out" is nothing but a rehash of a horror movie.    Due to its subject matter, "Get Out" is really nothing but "The Stepford Wives Go to Harlem."   You don't remember "The Stepford Wives" with Katherine Ross?   Well, by all means, catch it out...instead of "Get Out."

Okay, to review this movie, I will be giving away some spoilers.   It's your choice to read on or not.  I might be saving you some dough in the long run.   This film starts out in a way reminiscent of "Guess Who's Coming to Dinner."   The White girl, Rose, is bringing the Black boyfriend, Chris, home to meet her super-suburban and rich parents played with pomp and much circumstance by Bradley Whitford and Catherine Keener.   They're okay, Rose assures Chris, because they were both big Obama supporters.

As Chris looks around, especially at the Black help employed on the estate grounds, things don't look right.   The Black folks don't act Black, he tells his best friend on his cell phone.   Now, the buddy is a very intelligent TSA agent, which you know doesn't really exist in the real world.   Nevertheless, in much the same vein as the women were turned into robots in "The Stepford Wives," the White folks in "Get Out" are transplanting ______ of _________ into the heads of __________.  Fill in your own plot twist.

I guess film critics are falling over themselves with praise because this is apparently some monumental sociological statement.   In reality, this is nothing more than a goofy horror flick that is predictable as all get out.   And one reviewer went as far as saying that "Get Out" was a wonderful depiction of the violence being perpetrated on Black people by the White population.

Come fuckin' on.   You've seen this all before and "Get Out" brings nothing new to the table.

LEN'S RATING:  Two-and-a-half stars.

Dinner last night:  Grilled beer bratwurst.

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