# Get Out (2017) | Ep. 18 - Part 1

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 19 May 2023, 1 h 04 min.

Audio: https://traffic.megaphone.fm/APO8321471641.mp3

Who lets a comedian best known for sketch shows direct a horror film? Jordan Peele did exactly that, and walked away with an Oscar for it. Luke, Westy, and Matt begin the story.In Part 1 we cover the film's opening, director Jordan Peele, the cast, and the second act — including Daniel Kaluuya's breakout, the uneasy weekend at the Armitage house, and the dread Peele layers under every polite smile.The sunken place isn't the half of it. Part 2 takes us the rest of the way: crew, finale, reception, legacy. Live now. Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron: Listen on Patreon Listen on Apple Podcasts Listen on Spotify Twitter: @ATRightMovies YouTube: Subscribe to our channel Instagram: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[0:04] All the right movies. That's Drake.
[0:09] Drake. Andre Hayworth used to kick him
[0:11] with Veronica. Veronica from what?
[0:12] Teresa's sister? That work at the movie theater
[0:14] on 8th. You think is him?
[0:18] Is him. But wait, wait, wait, wait.
[0:19] This is so fucking fucking crazy, yo.
[0:23] He's different. No shit.
[0:25] Why is he dressed like that? It's not that it's everything.
[0:29] Teens at a party with a white woman like 30 years old sex
[0:32] slave interracial couple. Chris and Rose take a trip to
[0:35] the country to meet Rose's parents.
[0:37] Chris's initial concerns about being the only black person
[0:40] around are slowly confirmed after various inappropriate
[0:43] interactions with family friends, leading Chris to a
[0:45] shocking realization. Jordan Peele's serine
[0:48] directorial debut Get Out push the boundaries in the horror
[0:51] genre with layers of social commentary.
[0:53] It was lapped up by audiences and critics alike and is now
[0:56] considered one of the best films of the 21st century.
[0:59] My name is Luke and the two fellas with me have been doing
[1:01] their detective work. It's Westie.
[1:03] I believe they've been abducting black people, brainwashing them,
[1:06] making them work from the sex slaves and shit.
[1:09] Sorry about the shit. And Matt?
[1:11] By the way, I would have voted for Obama for a third term if I
[1:14] could. All the right movies want your
[1:16] eye, man. We want those things you see
[1:18] through. Hello everyone.
[1:38] Thanks for tuning in and welcome to all the right motherfucking
[1:41] movies. We handle shit, that's what we.
[1:44] Do. We are back in the saddle and
[1:47] feeling great. Isn't that right, fellas?
[1:49] That's correct it. Really is.
[1:50] Now, if you're new to the show, welcome.
[1:53] Don't be put off by the long runtime.
[1:55] Come on in, the water is just fine.
[1:57] Oh yeah. To our old listeners, well, you
[2:00] always knew we'd be back at some point, right?
[2:02] Absolutely. I think they knew.
[2:04] Yeah, of course. Yes, we've been off doing other
[2:06] things in the last 12 months. We've been building our content
[2:09] and following on YouTube and social media and beefing up our
[2:12] website. But we are back, back as a
[2:14] podcast and ready to deep dive into all the classics that the
[2:17] movie world has to offer. And what we had to return, a
[2:20] game changer for sure, It is Jordan Peels.
[2:23] Get out. Get in.
[2:29] Before we get down to it, we're going to let you know about the
[2:32] extra podcasts and content that you can get your hands on by
[2:34] becoming In All the Right Movies Patreon supporter.
[2:37] Patreon allows us to create exclusive content for our
[2:40] biggest fans. If you sign up, you get access
[2:42] to our entire podcast archive that is over 120 episodes.
[2:47] Big, big numbers. Lots to get dive into there,
[2:50] lots to. Get into there it.
[2:51] Was like 4 years worth or something like that.
[2:53] We've been doing this for a long time, a long time, and that
[2:57] increases every month as we create 2 new classic shows per
[3:00] month like the one that you're listening to.
[3:01] Right now we only have 20 classic podcasts available on
[3:04] general release and the rest are took away for our patrons.
[3:08] We also create an exclusive podcast every month for our
[3:11] patrons called Double Feature and that one is also not to be
[3:14] missed. Oh yeah, no, lots of fun on that
[3:16] every month. So if you can support us on
[3:18] Patreon, we'd very much appreciate it as it allows us to
[3:20] continue what we're doing and do more of it.
[3:22] And that is patreon.com/all the Right Movies.
[3:26] Yes, please do. Yeah.
[3:28] Every little helps. Yes.
[3:30] So admin out of the way, Matt, we know that you would have
[3:33] voted for Obama for a third term.
[3:36] So why are we talking about get out as?
[3:38] President of my lifetime, hands down.
[3:40] I'm not even American. Still is.
[3:42] Agree. Agree.
[3:45] With no irony. With no iron you whatsoever, no
[3:48] get out. It just stuck with me right from
[3:50] that very first view and because I remember watching things well,
[3:52] this has got such a familiar setup.
[3:54] Surely this, it's going to go exactly where I think it's going
[3:57] to go, but it doesn't. It goes in a direction almost
[4:00] kind of familiar but also one you don't really expect.
[4:03] And things happen that aren't very apparent on 1st view.
[4:05] And it's a film that I think, and I'll probably mention this a
[4:08] few times, it's just rewards repeat view and so much this
[4:11] one. Yeah, me too.
[4:13] Yeah. Jordan Peele.
[4:14] I've just wanted to talk about him for a while now because, you
[4:16] know, we don't do this. But, you know, just in general,
[4:19] we shouldn't limit ourselves to the establish likes of Scorsese,
[4:23] Spielberg, Cameron, people who have that huge back catalog.
[4:26] We should talk more about people like Jordan Peele, you know,
[4:28] directors who are making their classics right now.
[4:31] And for me, he's someone who makes and more exciting right
[4:34] now. You know, he's in that rare
[4:35] level of directors where of course he is.
[4:37] New film tomorrow. You wouldn't have to show me
[4:40] your trailer. Tell me the plot, tell me the
[4:42] title. I would just go new.
[4:44] Jordan Peele, Phil, I mean. So yeah, this one.
[4:47] Let's go back to it and see what all started from.
[4:49] I love it. Yeah.
[4:50] I've only recently started to understand the power of the
[4:52] film, really. I think that's because I've
[4:54] watched it a couple of times for the show.
[4:55] And what you were saying, Matt, it rewards on repeat viewings.
[4:59] It's a completely different film watching the second and third
[5:01] time. Yeah.
[5:02] And I think that Jordan Peele's a leading figure in modern
[5:04] cinema, a really important filmmaker.
[5:06] And as such, like you said, it's about bloody time that we're
[5:08] talking about. I should also note as well that
[5:12] the irony isn't lost on us that we are three middle-aged white
[5:15] fellas from England talking about complex racial issues in
[5:18] America. Yes.
[5:19] Yes, we're very rare. Is not lost on us at.
[5:23] All we'll probably cover it to be.
[5:26] What about you, Westie? Why get out?
[5:28] Exactly the same. I mean it, it stuck with me as
[5:30] well when I first saw it was very refreshing, but again, very
[5:32] familiar. Just like Matt was saying.
[5:34] It's very accessible. I think as a as a film, it's not
[5:36] necessarily an all out horror film.
[5:38] It's got a lot of things to say. There's a lot of complex themes
[5:41] and a lot of beautiful subtext. There's a lot of amazing
[5:43] foreshadow and he puts in it's very visual storytelling.
[5:46] It's got a great pace, it's got a great concept.
[5:49] It spins around and I think the fact that it's a debut film from
[5:52] the director, underwrite ad producer is an outstanding.
[5:55] It's just ridiculous. So for all of them reasons, I'm
[5:58] happy to dive in and into the Something place and have a good
[6:01] chat about it. Love It, Get Out was written,
[6:03] directed by Jordan Peele and produced by Sean Mckittrick,
[6:06] Jason Bloom, Edward Ham Junior and Peel himself for Bloom House
[6:09] Productions and multiple productions distributed by
[6:12] Universal Pictures on the 24th of February 2017.
[6:16] Daniel Kalugya stars as Chris Allison Williams as Rose, and
[6:19] they're supported by Catherine Keener and Bradley Whitford, who
[6:22] starred as Rose's parents. And last but not least, Little
[6:25] Rail Howery stars as TSA advocate Rod Chris's best
[6:28] friend. Nearly steals the whole film.
[6:30] He really does. Let's go then, fellas, on a trip
[6:35] upstate to liberal America to explore the complexities of Get
[6:39] Out. We're right from the start of
[7:05] the film, an ominous setting as we track the young fella on his
[7:08] phone at night who will later learn is Andre Haworth.
[7:11] Westie, you want to light the candle on this?
[7:13] I like the candle on this. It's a great great sequence.
[7:16] Very reminiscent to Halloween for me, very much using that's
[7:20] it's a 2 minutes, 11 seconds Steadicam shot, which again, is
[7:24] quite brave to open your first film with you see where his
[7:27] influences are coming from. I think it's really confident.
[7:29] Yeah. And we mentioned it in the
[7:31] double feature episode, actually, that we've just done.
[7:32] And then this sequence to me is quite forgettable because the
[7:35] rest of the film was so memorable.
[7:36] Not that this is a bad sequence. I just seem to forget it when
[7:39] the film's over. Even when you say Andrea again,
[7:42] you're just like, oh, was that the guy from the start?
[7:44] Watch it again and again and again.
[7:45] And the more it sticks with, you know, the run Ronnie's wearing,
[7:47] that night helmet that you don't realize he's wearing.
[7:50] He chokes about in six seconds exactly, which is how long it
[7:52] takes to knock somebody out. All these little points and just
[7:54] all that pointing to this creepiness is great.
[7:57] And it subverts that, you know, that white girl in a bad
[8:00] neighborhood. It's that, you know, that black
[8:02] guy in a suburban neighborhood, and he's like, what the fuck am
[8:04] I doing here? And it looks really calm to us.
[8:06] And we don't get that. That's terrifying, but it
[8:08] subverts that beautifully. And that's really, really good.
[8:11] I think the only thing he could have done to improve this
[8:13] sequence is have that suburban estate or that suburban block
[8:18] and have it in broad daylight. And that this happens in broad
[8:21] daylight, yeah, like Halloween. So it's just got that, that
[8:24] terrify and like, and everyone's at work or nobody's there.
[8:27] It's like the ghost town when people are turning the backs on
[8:30] the window and kind of letting it happen.
[8:32] I don't know if that might have been a bit too much, too quick,
[8:34] but I think that would have been excellent and completely
[8:35] subverted that dark nighttime creepiness and added an extra
[8:40] element of the film, which he does all the way through, apart
[8:42] from that opening sequence of sort.
[8:43] Why? I think it is a little bit more
[8:45] forgettable, but it is brilliant.
[8:47] It is brilliant. Visually, it matches the town of
[8:49] Haddonfield as well. Does it?
[8:50] Yeah. I really like like Keith
[8:52] Stanfield, who plays Andre. The imagery of him in this
[8:56] setting is is jarring from a visual point of view because you
[9:00] know, quite honestly, a black man in an affluent white middle
[9:03] America, not something that we used to seen on screen.
[9:06] No, no. And then kind of crept up by a
[9:09] white car as well. Yeah, exactly.
[9:11] Yeah, Peel said that the trope has always been that the
[9:15] outsider in these neighborhoods is usually viewed as the
[9:17] villain, so presenting the outsider as the good guy or
[9:20] victim here flips the trope on its head.
[9:22] Like, yes. And Westie, I like that.
[9:24] Andre is talking a waiter himself.
[9:27] He's chanting away. He says it's like a hedge maze
[9:29] out here, like kind of a reference to the Shiner.
[9:32] Yeah, Yeah. And then he talks himself out of
[9:34] being in this situation. He knows there's something
[9:36] really creepy about the whole thing.
[9:37] Is like, not me, not today, I'm out.
[9:39] I'm going the other way. And it taps into one of Peel's
[9:43] inspirations for the film, which was a comedy bit by Eddie Murphy
[9:46] on Delirious, his 1983 stand up. Yeah.
[9:49] Murphy jokes that in horror movies, the house is clearly
[9:51] haunted. And everybody, you see this all
[9:53] the time. But the white couple are happy
[9:54] to bring their entire family to live there.
[9:56] Yeah. And he specifically referenced
[9:58] The Amityville Horror and said that if a black couple came into
[10:00] a house like that and heard a ghostly voice in Get Out, they'd
[10:04] be straight out of the door, no messing.
[10:08] I would have been in the house to say, oh baby, this is
[10:09] beautiful. We got chandelier hanging up
[10:12] here, kids outside playing. It's a beautiful neighborhood.
[10:15] Being out underwear. I really love them.
[10:16] This is really nice. Too bad we can't stay, baby.
[10:21] But it is just a little too late for Andre, who gets nabbed by
[10:24] what we later learned as Jeremy. Yes, the original plan for the
[10:27] scene was to have Andre being taken down by a dart gun and
[10:30] peel like the animalistic imagery of the scene and like
[10:33] Andre was being hunted. But he changed it because he
[10:36] said it felt off brand for his type of horror.
[10:39] But the suggestion of being haunted is still there with the
[10:41] haunting use of Run Rabbit. Run in the soundtrack.
[10:44] Yeah, yeah, yeah. That mass over to you.
[10:47] Yeah. What do you think of the
[10:48] opening? I think it's brilliant because
[10:50] one of the great things about the film is when you get to the
[10:52] end, you see what's been going on all along.
[10:55] You realize what Jordan Peele wants get out to be about.
[10:58] You come back to the sun. You realize he started all
[11:00] together right from the start. Because after this scene, you
[11:02] get the most innocuous everyday scene in the film, which is just
[11:05] Chris getting ready, getting packed.
[11:08] But even though you've got that image of Chris Shavin, which is
[11:11] such an everyday activity, but visually it's Chris taking that
[11:13] white form and scraping it off to reveal his black skin
[11:16] underneath. And that's the whole film.
[11:18] The whole film is about people who have one colour of skin on
[11:21] the outside, but peel that back and they were totally different
[11:24] colour underneath and it. Cuts himself as he does it.
[11:26] Cuts himself as he does it. And it's such like a simple but
[11:30] effective metaphor for what's to come.
[11:31] It's great. And it's all just in the scene,
[11:33] which I see you. What do you think?
[11:34] Well, this is a sex position. We'll find out why Chris is
[11:37] anxious. And then even as he watched the
[11:40] film, you go, Oh, no, this was about setting up the Obama joke
[11:43] later on, you know, because Rose brings it to be, you know, the
[11:46] love is very real. And you think that's what The
[11:48] thing is about? Even before that, yeah, you've
[11:50] got Rose just picking from all of the owners.
[11:52] She's got a selection and she's loving that.
[11:54] And it uses a head to to bang on the door as if she's going to
[11:57] get into his head. And that's where it's all gone.
[11:59] It's genius. It is.
[12:00] It's brilliant. It's like, say, just the most
[12:02] innocuous for what we're seeing. But he's already putting all his
[12:05] IDs in right from the very start.
[12:07] Yeah. The song playing over the
[12:09] scenes, Red borne by Childish Gambino.
[12:11] Yeah, He'll chose the song because the lyrics like stay,
[12:14] walk and don't close your eyes. Yeah, yeah, yeah.
[12:17] So a super creepy opening. And Chris's anxiety is laid out
[12:20] on the table. A great start to the film, yeah.
[12:22] Brilliant. In our next scene, we're
[12:26] tracking Chris and Rose upstairs to meet her parents and Westie,
[12:30] it's over to you. Yeah, I mean, it just gets it
[12:33] just it gets progressively just better and it's their
[12:36] relationship is so believable and you're just with them in the
[12:40] car and then you get that introduction to Rod, which is
[12:43] great. When he rings the open, he's got
[12:44] all these different idea. Next time 11 is going to be some
[12:46] geriatric shit. It's just like really, really
[12:48] fucking brilliant. And that totally takes your
[12:51] attention away from what's going to happen.
[12:52] And then you get that bang with the deer come from your.
[12:54] Big shock. And you just whoa, OK, right.
[12:56] How many jumpscares am I going to get?
[12:58] It's broad daylight. He's actually doing what I
[12:59] thought he was going to do now. And then there's that really
[13:02] brilliant moment, and I love that moment with the deer
[13:04] because it takes so long for Chris to get there and figure
[13:07] out what's going on. And you find out later that
[13:10] that's how his mom died. It was a hit and run and she
[13:12] died. She died by herself at the side
[13:14] of the road. So he's revisiting that.
[13:16] He does all the way through the film this to me, but he steps
[13:19] off the main road into the woods.
[13:21] It's that he's prepared to do anything to a grieve that guilt.
[13:25] And that's brilliant. And then obviously you get when
[13:27] the policeman turns up and you get that back and forth again,
[13:30] that's fantastic. But it's just that moment
[13:32] hitting the D And you think, why is he lingering on that for so
[13:34] long? And he hears the cry.
[13:36] She stares at the car. She's not involved with these
[13:38] past. He's trying to make up for
[13:40] something. And again, that's a really
[13:41] powerful moment. So for me, just as it leads up
[13:44] to it, there's just so many amazing, amazing foreshadowing
[13:46] moments. It's such a familiar setting,
[13:48] that journey somewhere and hitting something on the road,
[13:52] but it's got so many layers here and it subverts what you're
[13:55] expecting. The music and the opening
[13:58] credits, it's sung in Swahili. Yeah, yeah.
[14:00] Except for the word brother. Yeah, yeah, yeah.
[14:03] The composer Michael Abels is the voices and the song I meant
[14:06] to represent the souls of black lynching victims and slave
[14:09] warners. Which yeah, kind of works.
[14:11] Yeah, translated the lyrics of Brother Run.
[14:14] Listen to the elders. Listen to the truth.
[14:16] Run away. Save yourself.
[14:17] Wow, so for all the Swahili speakers, the fucked Swahili.
[14:22] Speakers knew exactly what it was from the get go.
[14:25] Right, we'll get out and show. But I want to pick up where Rose
[14:31] and Chris get to the house. When they arrive, everything
[14:33] seems nice and normal and welcoming.
[14:35] How could this be a problem? But it's shot really wide and
[14:39] it's difficult to make anything out apart from the dialogue.
[14:42] But then when we get inside and the things start to turn weird
[14:45] in close up. I think what people say in there
[14:47] is that from afar and the outside everything looks normal.
[14:51] But you get close up and you start to see what's really see.
[14:53] The cracks, yeah, there's that lovely shot as well when it just
[14:55] kind of dollies over from the the door straight and where
[14:58] they're sitting down. That's a great shot.
[14:59] Great. And I've got to mention the two
[15:01] parental performances by Bradley Whitford and Catherine Keener
[15:04] here. They play kind of this multi
[15:06] layered performance really well. Kind of Alison Williams does the
[15:09] same. They're acting acting and they
[15:12] do it really effectively. But these two in particular have
[15:15] to find in their performance something welcoming but off kilt
[15:18] a slightly. And that's a really difficult
[15:20] thing to articulate to an actor without them being over with it.
[15:24] But they managed to pull off this kind of like something's
[15:26] wrong, but you can't quite put your finger on it.
[15:29] Yeah, really, really great performances.
[15:31] And Dean Shaw and Chris around the house try and act hip.
[15:33] Oh God, it's screw she even. Before that was like how long is
[15:37] this Ting? Yeah, oh God.
[15:42] Then he says him add a boy like oh God, that right?
[15:46] And like the bit on the porch, just when he's jumping up and
[15:49] down, like hopping up and down, it's like, Oh my God, this.
[15:52] Is like man. Yeah, it's like this is going to
[15:54] be the worst dad you would ever, ever meet.
[15:57] Like everyone nightmares. It's paid flaps.
[16:00] That's the thing. That's what keeps you off.
[16:02] Guilt. Yeah.
[16:04] Matt, what about you and this scene?
[16:05] Yeah, it's brilliant because it it's place here.
[16:08] There is that sense of unease throughout the film that
[16:11] something is wrong and Chris can censor but he can't work out
[16:13] what it is yet. And I think a big part of that
[16:15] throughout the film, but especially here is how Walter
[16:18] and Georgina, who are the household help, how they're used
[16:22] because there's a lot of foreshadowing here with these
[16:24] two. Like, their performances are so
[16:26] weird and stilted. Like when Georgina spills
[16:29] Chris's drink and there's a real tension in where that Missy
[16:33] tells us to go and have a lie down and it's only Lady
[16:36] realized. Well, yeah, again, these are
[16:38] people playing a part. Georgina isn't actually the
[16:41] maid. She's just acting as if she's
[16:42] the maid. And Missy is very that's just
[16:45] going to mess the whole thing up.
[16:46] So that's why she's like, go and have a lie down.
[16:49] And it's the same with Walter. Like it's one of these really
[16:51] subtle clues that live on this huge estate and you see using a
[16:54] handheld week for the garden that's going to take like a
[16:58] week. But again, it's just to perform.
[17:01] So Chris's benefit and the hope that he's not going to be around
[17:03] long enough to twig. And it's the same as, you know,
[17:06] Georgina was playing with that big fringe while with the
[17:08] baseball cap. It's took over the scars
[17:10] discover later on. And these are all these elements
[17:13] that just pay off so well second time around.
[17:15] It's when Dean walks into the kitchen.
[17:16] She's just stood there and that kitchen is Immaculate.
[17:19] He always says I'll be. Mom loved her kitchen, so we'll
[17:21] keep a piece of her here. Yeah.
[17:25] Yeah, that's great. That's.
[17:27] Brilliant. And it's the same when Dane is
[17:29] talking about the help to Chris and he says we hire Georgina and
[17:32] Walter to help care for my parents when they died.
[17:34] I couldn't better let them go. Exactly.
[17:36] Yeah. Couldn't better let the parents
[17:38] go. Which he realized later on.
[17:40] It's just all this wonderful foreshadowing going on that just
[17:43] pays off so well down the line. Yeah, it does.
[17:45] It's really benefit from additional watches.
[17:48] Even like 4th, 5th time I'm still seeing things where I
[17:50] think, Oh my God, that's so obvious.
[17:52] Yeah, so obvious now. Yeah, it is.
[17:54] Yeah, kind of kick yourself. So, great first act, no
[17:57] confirmation that there's something amiss, but there's
[17:59] definitely something very strange happening in suburbia.
[18:02] Absolutely the director. A directorial debut for Jordan
[18:11] Peele, who at the time was probably best known as one part
[18:14] of successful comedy Dual Key and Peele Emmy award-winning.
[18:18] But what a way to start your movie career, Matt.
[18:21] What do you think about his work as director on Get Out?
[18:23] I just think it's so self assured.
[18:25] It's really clear in his head what he wants.
[18:28] And I think this is what you get when you get somebody who writes
[18:30] and directs but can do both. Because quite often you can see
[18:33] someone try to do that. They've got a really good idea,
[18:35] but they don't know how to translate it on the screen.
[18:38] And this is this is the opposite.
[18:39] And I think Pale does such a great job of teasing the
[18:42] audience and leaving you guessing for the majority of the
[18:45] time. Like not just what's going on,
[18:47] but what kind of film am I watching?
[18:48] Because it does start ever then at at this house, like it's an
[18:52] awkward social comedy. Like we've said, it's kind of
[18:54] funny. And like the way that the office
[18:56] is funny, it's like, God, it's so cringy, but I am kind of
[18:58] laughing at it. But is there something more
[19:00] sinister going on? And he just has this real sense
[19:03] of push and pull for the film where he will set up sequences
[19:07] that go very weird but go really dark and he pushes the audience
[19:10] into them. But then he'll pull them right
[19:12] back and, you know, he'll set up, you know, a convinced an
[19:15] explanation from us or you'll drop in a joke that diffuses the
[19:18] situation. And it just leaves you feeling
[19:20] really disorientated, just like Chris does.
[19:22] And I think he just does a really good job of putting it in
[19:25] the main character shoes. Like should I be worried back
[19:28] this or am I just being paranoid and I'm just trying to really
[19:31] mass for how he manipulates the tone of the film to then
[19:34] manipulate our reactions to it and visually as well.
[19:37] He just knows how to creep you out.
[19:38] Like we've already mentioned that arrived with the house and
[19:41] that like amazing pull back, which he thinks why is he doing
[19:44] that until he realizes he's pulling back till he see Walter
[19:47] just stood stock still staring at them.
[19:50] You know, brilliant touch there. So it doesn't feel like a debut
[19:54] because it feels so confident in what it's doing.
[19:56] So shoot. So shoot, you know, he knows
[19:58] when to go for wide shot, he knows when to go for a big close
[20:01] up in this film. It's got some incredible
[20:03] close-ups, faces, You know, we'll talk about them in more
[20:07] detail, but Chris being hypnotized, Georgie in the
[20:09] bedroom, I just think it's such an impressive, self assured,
[20:13] confident debut work here. I think from his past as
[20:16] well-being that then being as good as he was and as funny as
[20:19] he is. And if you see the clips, I
[20:22] mean, there's that meme that goes around when he plays the
[20:24] president. He's just kind of like high 5
[20:26] and everybody ignoring the white people and then engage with the
[20:28] black people. I think that's hilarious.
[20:30] But that to me is just like him, right?
[20:31] And get out, you know what I mean?
[20:32] I'm doing this for me. And he's got that kind of
[20:34] outlook. I think it's just the way he
[20:36] uses the frame, like Matt mentioned, the way he blocks
[20:38] actors, the way it's very reminiscent the Seventies, 80s
[20:42] horror. It's got them frames and the
[20:44] camera moves exactly when it needs to.
[20:46] And it's always got that pace and it's got that flow and he
[20:49] knows and understands that. And it's just the way that uses
[20:53] the wide angles, like Matt said, the way he uses the close-ups.
[20:55] But for me it's that kind of the reference to The Shining and
[20:59] again, Halloween and without it being like, oh, that's an
[21:02] obvious Kubrick shot. You just kind of like, oh, the
[21:04] symmetry is there raw sat at the end with the milk.
[21:08] It's exactly the same Scatman Crothers.
[21:09] You've got that old fashioned TV with that push in that Kubrick
[21:12] push, and he uses it exactly when he needs to, when he
[21:14] doesn't overuse anything. That's that.
[21:16] He's got so much in his Canon here.
[21:18] Nothing's overused. Nothing's they a cliche.
[21:21] And again, I just think it's how good he is working with Agnes
[21:24] and he understands their role and he understands how to give a
[21:27] small amount of motivation and just absolutely nail it.
[21:32] Chris didn't know whether like he's motivation when they didn't
[21:34] have a lot of time to shoot. The sun was going down.
[21:36] And there's that moment that he has with Rose where he's like he
[21:39] says to Jordan people, why? Why doesn't he camera character
[21:41] just run away? Why does he just leave right now
[21:43] when there's something up? Because he says, well, you're
[21:45] burdened with the guilt of your family leaving you and you need
[21:48] to make this work and you need to find some reason why it
[21:51] works. And then he just nailed it first
[21:52] take. So I think it's his motivations
[21:54] and he's the way that he understands actors and he
[21:56] understands cameramen and he understands, you know, how to
[21:59] write and where things are going to be.
[22:00] It's just these understanding of the full process gives you this
[22:03] as a debut and it you cannot have a debut like this without a
[22:07] full understanding of the whole process, which definitely has.
[22:10] Yeah, yeah. And I think, yeah, his
[22:12] experience in acting, producing, writing and now directing, and I
[22:16] think that that really helps that give that whole rounded
[22:19] process. That's why I think every
[22:20] performance is is pretty flawless in this film.
[22:22] I don't think anyone brings anything bad, he just wouldn't
[22:24] allow it. No, I agree totally.
[22:27] As it's Jordan Peele's script. There was nobody else in the
[22:29] frame to direct in the end, but he wasn't planning to direct
[22:32] originally, he said. Halfway through writing it, I
[22:35] realized that I had to direct it.
[22:36] I think I got up to the party scene and I was like, who else
[22:39] is going to direct this? I've seen so few horror movies
[22:42] where a black person has been given the director's chair.
[22:44] Then I realized why not me and all this thing.
[22:48] And he certainly knows the iconography of horror as well
[22:50] without it being derivative in any way for me.
[22:53] He uses films like Rosemary's Baby in The Step Wives as a
[22:56] jumping off point for Get Out. He said that these films were
[23:00] able to address fears surrounding the women's Lib
[23:02] movement in a way that was engaging, not preachy, but fun.
[23:06] He said that audience related to the protagonists in these films
[23:09] regardless of their gender and wanted to see him forget out
[23:11] despite the colour of his skin. Chris is being persecuted and
[23:15] that's what audiences will see. Yeah, and it's so close as well,
[23:18] but it doesn't feel like a RIP off, feels like a margin, a
[23:20] complete, like a clever take on. It it is very close, but yeah,
[23:23] it doesn't feel derivative at all.
[23:25] I mean, there's nothing new in terms of the setting of the
[23:27] film, an uneasy location where something doesn't quite feel
[23:30] right and then some crazy shit goes down.
[23:33] But by shooting from the perspective of a black person, I
[23:36] think he gave voice to a huge audience who were are still
[23:39] under represented in cinema. Yeah.
[23:41] Black protagonists are few and far between.
[23:43] And I think Chris is way smarter than your average horror lead.
[23:47] Yeah. He doesn't need anything
[23:49] concrete to know that something is not right at this party.
[23:51] It's just, you know, the odd word here, an unplugged phone,
[23:55] their interactions with the staff that just don't seem
[23:57] right. Yeah.
[23:58] And Chris's sentences are heightened because he's kind of
[24:01] kind of guess he's been in these uncomfortable situations before.
[24:04] And this is really refreshing to see this familiar setting but
[24:07] with a completely different context.
[24:08] A completely different context. Yeah, usually it starts with
[24:12] that question. He asks rules and just says, do
[24:14] they know I'm black? That's where it starts, because
[24:16] he knows for a fact that it's just going to be awkward and
[24:19] weird because people just don't accept it.
[24:21] Yeah, yeah, that's brilliant. And that's exactly what we.
[24:23] Get exactly what we get. You're with him though, and
[24:25] you're like, this is what it's like.
[24:27] Yeah, exactly. Yeah, yeah.
[24:30] And I think the iconic review of horror.
[24:32] The same goes with the house itself.
[24:34] The haunted house is obviously huge in the genre.
[24:37] This house isn't haunted in the traditional sense, but it's
[24:39] haunted by evil nonetheless. Evil that is living and
[24:42] breathing, which is surely more terrifying than ghosts and
[24:44] goblins. Yeah.
[24:46] So to wrap up our section on Jordan Peele as director, we've
[24:49] got a question from one of our wonderful Patreon supporters.
[24:52] That is another benefit of becoming an ATR and patron.
[24:55] You can ask us questions which will answer on the show, both
[24:57] this and our double feature show.
[25:00] Our first comes from long time patron Craig Rooney.
[25:03] How are you doing, Craig? Hello, Craig.
[25:04] Hello, Craig. Yes, yes, Craig says.
[25:07] For a debut feature, Jordan Peele knocked it out of the
[25:09] park. What other director debuts are
[25:12] your favorites, Westie. Any genre.
[25:15] Anything you like? Right.
[25:16] OK, there's the classics. There's three classics that I
[25:18] love. There's three that have stuck
[25:19] with us and and more of a modern way of the way I wanted to look
[25:22] at this is that you cannot tell that this is Jordan Peele's
[25:24] debut. So I wanted to think of three
[25:26] films where I thought that kind of be a debut.
[25:29] OK, there's Nightcrawler by Dan Gilroy.
[25:32] Oh. Which what's that film isn't?
[25:35] Yeah. What's that go?
[25:35] That's his debut film. Yeah.
[25:37] No chance. Being John Malkovich, Spike
[25:39] Jones first film. Oh.
[25:41] Yeah. Wow, you know it's a Charlie
[25:42] Kaufman script, but who else can pull that off?
[25:45] And finally, American Beauty Sam Mendez.
[25:47] Yes. That how's that debut?
[25:49] You know, there's that classic coming.
[25:50] I love Badlands, 12, Angry Men, Reservoir Dogs, the list goes
[25:53] on. But then 3 for me, stick to me
[25:56] as like that kind of put your debut.
[25:57] There must have been something before that.
[25:58] Yeah, great. Shouts Night Crawler.
[26:00] Who? Yeah, Love to give that a bit
[26:02] more time. Yeah.
[26:03] All right. Yeah.
[26:11] Agree with Craig. He one of the most memorable
[26:13] debuts in recent memory. The films that came to my mind
[26:16] and I didn't think too hard about them.
[26:17] These were just straight off the bat.
[26:19] Blood Simple, The Corn Brothers, I'm appreciating that film more
[26:22] and more as I get older. I just really love the the
[26:25] disturbance subject matter. It's fantastic.
[26:27] And it's just Joel and Ethan has like kind of what you were
[26:30] saying, Wesley fully formed as film makers from the word called
[26:33] boom. The other one for me is The Evil
[26:36] Dead, directed by 20 year old Sam Raimi. 2020. 20 year old I
[26:41] know I. Couldn't do it now by the two
[26:44] genres had never really been joined before.
[26:46] Ridiculous. Crazy.
[26:48] It's just remarkable what he did with the cast and crew of his
[26:51] buddy. One location, limited budget and
[26:53] some phantasmagorical effects were I love it.
[26:57] The difference between the two is that with Blood Simple, the
[26:59] coins have made a number of films arguably better than Blood
[27:03] Simple. With Evil Dead, I think that
[27:05] really peaked with his debut. I know a lot of people prefer to
[27:09] not saying that he's been poor since I'll watch anything he
[27:11] makes, but I think his debut is something something completely
[27:14] different. Spider Man 3.
[27:17] Yeah, well, you know everything I say, with the caveat that
[27:22] aside from comic book films. Films are adults is what you say
[27:26] is awful. For adults.
[27:33] What about you, Matt? Have you got any?
[27:35] Yeah, I did. I kind of like you guys wanted
[27:37] to think outside the usual names that get brought up.
[27:39] And I was going to mention Spike Jones because I had to double
[27:42] check that was like, that was never his first film.
[27:44] Because that's really isn't it ridiculous?
[27:46] To. Imagine.
[27:47] That that's your first film? No.
[27:50] That's your first and last. Imagine nothing else since just
[27:53] disappeared. Just a Jackass for the rest of
[27:54] his life. So the other two wanted to
[28:00] mention the first one, someone who were all a huge fan of, and
[28:03] I always forget this was his debut film, but Martin
[28:05] McDonough, In Bruges. Oh yeah.
[28:07] Like, yeah, ridiculous. That's that's crazy, isn't it?
[28:10] That's incredible and one that we did the YouTube version of,
[28:14] but I still think we could do a proper full on deep dive into
[28:18] it. Daniel Myrick and Eduardo
[28:20] Sanchez play which project that is just like a bolt of
[28:23] lightning, that film the way that yeah, first and last.
[28:28] What else are you going to do after that though, after pulling
[28:30] that into the game stand that they did, you may as well.
[28:33] Yeah, I'm just done. I'm done because.
[28:35] It's kind of disappointing. I've just clocked horror movies
[28:37] I've done. The last page.
[28:39] Myrick Sanchez. Yeah, amazing.
[28:41] Great. Yeah, well, I'll mention Blair
[28:43] Witch again later, but we'll keep you in suspense for that.
[28:46] Oh. Wow, can't wait.
[28:47] Oh yeah, so some solid work behind the camera with Jordan
[28:50] Peele breaking down barriers on his debut film.
[28:52] A real game changer. Yeah, absolutely.
[28:54] The cast. Jordan Peele pulled together a
[29:03] cast largely better known for their TV work, aside from the
[29:06] great Catherine Keener, of course.
[29:09] Matt, can you start us off with your favorite performance and
[29:11] get out? Yeah, well, you can't go anyone
[29:14] other than Daniel Kluya, can you?
[29:16] I mean, he's one of these actors where it's so good to watch him
[29:19] because you just see him becoming this real stand out of
[29:22] his generation. It's not just this film, you
[29:24] know, such a young actor. He's already got such variety
[29:27] under his belt. You know, he's terrifying.
[29:29] And Widows is like the the bad guy Judas and the Black Messiah,
[29:34] incredibly charismatic and that. And for me, the first thing I
[29:37] remember watching him in was Psychoville, which was the the
[29:41] little scene follow up to League of Gentlemen.
[29:44] Yeah, and there's loads of that in this as well.
[29:46] There is, there is. If you've never seen
[29:49] Psychoville, go back and watch that on League of Gentlemen.
[29:51] And I think if you did know, I think you would assume he's
[29:54] American. And yet he's a cockney.
[29:56] Like his accent is flawless. And it is.
[29:59] It really is. And he's just one of my favorite
[30:01] actors at the minute. I've just seen.
[30:02] He's on such a great run of form, and then you've got this
[30:05] role and so much of it is on his shoulder.
[30:07] So much is about him getting across that sense of something
[30:11] feels wrong. But I might just be paranoid.
[30:14] And from the beginning, he's already on edge because of the
[30:17] racial aspect of the relationship.
[30:18] So the last thing he wants to do is overreact to the family.
[30:22] And it's a way that clearly it just brings Chris up and down.
[30:25] Like this is weird. I'm freaking out, freaking out,
[30:27] freaking Outlaw. I'm OK.
[30:29] I'm probably the other thing that I'm just going to calm
[30:31] yourself down and get on with that.
[30:33] He's constantly doing that and it's like, it's like if you
[30:35] watch like a pan of water on the stove and you waiting for it to
[30:38] just boil over and lose it. But he just keeps it so close to
[30:42] his chest and tries to dampen it all down.
[30:44] And it's a really internal performance.
[30:46] And yet he expresses so much. And I think what helps that is
[30:49] he's just got this really incredibly expressive face.
[30:53] Like so many scenes come alive to slip his facial expressions.
[30:57] He can do comedy. So you know when Dean says about
[30:59] voting for Obama with their term, Khalidi's expression, he's
[31:03] just like, Oh my God, this guy. And he just goes.
[31:06] I agree. Yeah, that's great.
[31:08] Yep, and then but then he can do the tension so when he's talking
[31:12] to Andre slash Logan at the party scene and he realizes
[31:15] something not about him just the way like tilts his head and like
[31:19] what's up with this guy? The same to you in the dinner
[31:22] with Jeremy, when Jeremy starts needling him and it's like, I'm
[31:26] incredibly uncomfortable. I'm trying to be really polite
[31:28] at the same time. And obviously we're going to
[31:31] talk about that expression when he is first hypnotized to me.
[31:33] Not on the poster. Yeah.
[31:36] That was all you needed. It just felt, well, that's like
[31:38] a classic image of the horror genre already.
[31:41] Yeah, already. Already history, yeah.
[31:43] You mentioned his accent there, but I actually think he's better
[31:46] when he's got no dialogue. I know what you mean.
[31:50] I know what you mean. I know you mean something.
[31:52] Out of that, some of the lines you could have just cut and you
[31:55] know exactly what he's thinking. Yeah, great.
[31:57] Totally. And yeah, I mean, it's a great
[32:00] performance. And, you know, like, no one
[32:02] should take the Oscars seriously.
[32:04] You know, it's all just arbitrary and what's favoured
[32:06] the moment. But I do think has to be said,
[32:08] they never ever really look at performances like this.
[32:12] But they did with Daniel Kalu. Yeah, you know, and he probably
[32:15] should have won, to be honest, in my opinion.
[32:17] That's how good he is. That's great.
[32:19] What you were seeing there Westie?
[32:22] Just expression, no dialogue during that police pullover
[32:25] scene, the way Rose takes charge of the situation and the shots
[32:28] of Chris just wincing as she's given just a shit.
[32:31] Back to the convent. He's like, fucking hell, I
[32:33] couldn't get into this. And you know what he's thinking.
[32:35] Yeah, he knows that. You know, I've been in this
[32:37] situation before. If I was to say this, I'd be in
[32:40] cuffs and behind bars. Yeah.
[32:42] And you can tell that just by his his expression.
[32:44] Yeah, Eddie Murphy was originally chose to play Chris,
[32:48] but Jordan Peele changed his mind after he decided he was too
[32:51] old for the role that. Would have been outrageously
[32:53] can. You imagine Eddie Murphy Donkey.
[33:01] Would have absolutely wept at it.
[33:05] Absolutely love him, but like he would have just been, you know,
[33:07] he's like when he's in the Naughty professor, when he's
[33:09] thin and he's just really effervescent.
[33:10] He just turned the house and he would just be like, hey, what's
[33:13] going on? Kaluu was cast after Peel saw
[33:19] him in 15,000,000. Merits episode of Black Mirror.
[33:23] Of course. Oh yes, that's a great one.
[33:25] Yeah, it's a great one. Yeah.
[33:26] His audition was the sunken play scene.
[33:28] He cried on cue. One single tier and that's all
[33:30] Peel needed. That's all he needed to see.
[33:33] Yeah. Exactly the same tier five
[33:35] times. Yeah, got the I.
[33:36] Mean. Magnificent.
[33:38] Yeah. So great performance by Kaluya
[33:42] who picked up a Rising Star BAFTA for his efforts as well.
[33:45] Absolutely. I could have got that part.
[33:46] I cry five times a day. Is it just floods of teas
[33:55] though? West.
[33:56] Yeah, it's not the same tea every time.
[33:59] They might get a tattoo like like another 48 hours.
[34:08] That's wonderful. I'm going to go for the, and I'm
[34:17] going to say it, delectable Jason Williams as my God, what a
[34:22] treat. She's just the perfect.
[34:25] Steady. Odd.
[34:26] No. But she is just at the start of
[34:28] the film. She's just the perfect
[34:29] girlfriend. She's just understanding.
[34:32] She's hot as toast, She's bringing you doughnuts and
[34:35] coffee and she's just friends with your dog and she looks
[34:38] amazing and she's standing up with a fucking plot.
[34:40] And she's like, come and meet me family.
[34:42] I don't even have to tell them that you're black.
[34:43] I love you that much. She's so cute and then so
[34:46] psychotic. Perfect dual performances I
[34:50] think I've seen in a horror film when she's talking to Rod, when
[34:53] Chris has disappeared and she's sitting there stoic and just
[34:57] blank, dead, blank face, hair back on the phone.
[35:01] And she sounds like Rose, but. But you don't look like it,
[35:04] doesn't look like it's. And then the camera just comes
[35:07] around beautifully when she gets the best of them.
[35:09] And then you just see the family standing in the doorway.
[35:11] Yeah. And you know why she's doing it?
[35:13] It's absolutely brilliant. You know, the Rose amongst the
[35:16] thorns actually shows that racism isn't all just burning
[35:18] crosses and it isn't always on the surface.
[35:21] It could be deep, it could be the family influence, and it
[35:24] could be the nicest person in the world who could have this
[35:27] horrible, disgusting evil streak.
[35:29] And she is evil. By the end of the film, she's
[35:31] evil personified. She's got no feelings, she's got
[35:34] no emotions. And I don't know if this is down
[35:37] as a commentary on the family's influence and generational
[35:40] influence and that racism is passed down through family,
[35:43] which it probably is in many cases.
[35:45] It's generational and it's what you believe in.
[35:47] But has she done this so many times that she just doesn't care
[35:51] anymore? It's just that job.
[35:53] She's known to it. Yeah, really beautifully played,
[35:56] really beautifully fleshed out. And I think if she stays the
[35:59] same for the first half of the film, she'd been like that all
[36:02] the way through. She probably 1 of me favorite
[36:04] favorite performances in a horror film.
[36:05] It's like just the perfect girlfriend, but just he spins it
[36:08] around and he knows it and it's great because you're just like,
[36:11] shit. I would have fell for that 100%.
[36:13] Yeah. Easily, yeah.
[36:14] Look line and sinker. Look line and sinker.
[36:17] Donut, coffee and sinker don't. I love all those glances she
[36:22] gives it everyone, like during the party scene.
[36:25] Yeah, because if anything, oh, she's just pissed off with
[36:28] everyone again, repeat view. And it's like nauseous where
[36:31] we're going to give the game away.
[36:32] Like, exactly. Calm down.
[36:34] Like, yeah, keep a lid on it. We've nearly got him.
[36:37] Brilliant performance. Brilliant.
[36:39] Much is like the table. What she says is dude when he's
[36:41] going to be too far. Yeah, yeah, dude.
[36:43] He's like, dude, what? You just second?
[36:45] Mean in, isn't it, when you watch it for a second time?
[36:47] Yeah. Brilliant.
[36:48] She was cast because Peele thought her previous roles in
[36:50] TV's Girls, the TV show Girls and then Peter Pan would make it
[36:54] easy for audiences to trust her and think she couldn't possibly
[36:58] be in on the whole thing. Peel said that Williams reminded
[37:01] him of someone you knew at summer camp and had a crush on.
[37:05] Absolutely. Matthew Westie.
[37:07] Absolutely. I haven't seen either Girls or
[37:11] her version of Peter Pan, and I still think she couldn't be
[37:14] possibly be part of this whole thing because that's on her
[37:17] absolutely incredible performance.
[37:19] Her performance changes on the second watch and then the third
[37:21] watch and the fourth watch, and totally different view it
[37:23] totally differently. Yeah.
[37:25] So a wonderfully nuanced performance from Allison
[37:27] Williams. Sean, fantastic range.
[37:30] Yeah. Lovely.
[37:33] I'm going to talk about a glorious performance in the
[37:36] film. It's the one and only Lil Row
[37:38] Harry who plays Rod Williams DSA.
[37:45] I mean, I could just watch this guy do his thing all day long.
[37:48] He's basically the audience telling Chris not to go in the
[37:51] house. When he gets there, tell him to
[37:53] get out of the house. His comments are largely based
[37:55] on what he sees on films and on TV on some Fritzl shit.
[38:00] His conclusions are pretty outrageous, but they're
[38:03] basically true. Andre has become a sex slave and
[38:06] shit. Among other things, I presume.
[38:08] Yeah, and he's also obviously the Comic Relief in the film.
[38:12] That scene in the police station is an absolute joy when he's
[38:18] outlining his hypothesis, claiming that he's probably more
[38:20] trained than the police because of his TSA work.
[38:24] That's OK. He said.
[38:28] He said I've been doing my detective work kind of just to
[38:31] make it sound more legitimate, take me seriously because I've
[38:35] been doing my detective work here.
[38:37] That scene is just golden for me.
[38:39] His delivery and his cadence and his phrase and irresistible.
[38:43] He lays it all down and says what's the next move?
[38:46] As if he's in on the whole thing.
[38:48] As if he's convinced her. Yeah, yeah.
[38:50] Like her Stony face is brilliant.
[38:53] She's brilliant because you don't know until they start
[38:55] loving. It's sort of good, brings you
[38:56] over to you guys that he shows her is just Andre dressed as
[39:00] like in a white men's clothes, Like he's not going to wear
[39:02] that. That's enough evidence.
[39:03] Doesn't show that. Like doesn't show that this man
[39:05] is missing. Like any kind of real evidence
[39:07] that he's missing. Just like, yeah, it's just a
[39:09] picture. Of a guy.
[39:10] In a hat, yeah. He doesn't dress like that.
[39:11] He would never dress like that. He must be a sex slave and shit.
[39:16] This dude is from Brooklyn. He didn't dress like this.
[39:19] He got the dog with him as well, yeah.
[39:22] He's got the dog with him. Yeah.
[39:23] Lifts him up. He's right.
[39:29] And also that phone call seen between him and Rose, he thinks
[39:33] he's going to crack this case wide open.
[39:35] He's got Rose right where he wants her.
[39:37] He puts her on hold. I'm going to record this shit.
[39:38] He's got that TSA shit tingling. But she just says one thing to
[39:43] her about wanting to have sex with her and all of his
[39:45] detective work all falls apart and he hangs up the phone.
[39:48] Oh shit, she's genius. She's genius.
[39:53] That's when he goes speaker. Record.
[39:56] Yeah. Unmute.
[39:57] Yeah. And that and that's a payoff,
[40:03] what Rose is saying. And that's a payoff to a moment
[40:05] when they have the phone call in the car on the way up right at
[40:08] the start. Yeah.
[40:09] Yeah. Great.
[40:10] Again, great writing. Yeah.
[40:12] Great performances by both in that scene.
[40:14] I just think that this is the type of character that could
[40:16] have gone way overboard and blunt the message of the film.
[40:20] But how Really And Peel judge the balance really, really well?
[40:22] Yeah, yeah, they really do. So stand out performances all
[40:26] around, not forgetting the talents of Catherine Keener,
[40:28] Bradley Whitford, Stephen Root and Lakeith Stanfield.
[40:38] This episode of All the Right Movies are sponsored by Better
[40:41] Help. Without a healthy mind, being
[40:43] truly happy and at peace is hard.
[40:45] The good news is, therapy works. But what is therapy exactly?
[40:48] It's whatever you want it to be. Maybe you're not feeling
[40:51] motivated right now and would like some tools to help.
[40:54] Or maybe you're feeling insecure in relationships, are at work,
[40:56] and not dealing well with stress.
[40:59] Whatever you need, It's time to stop being ashamed of normal
[41:01] human struggles and start feeling better.
[41:03] Because you deserve to be happy. And now you don't have to worry
[41:07] about finding an in person therapist.
[41:08] Need you to help? Better Help is customized online
[41:11] therapy that offers video, phone, and even live chat
[41:14] sessions with your therapist so you don't have to see anyone on
[41:17] camera if you don't want to. It's much more affordable than
[41:20] in person therapy and you can start communicating with your
[41:22] therapist in under 48 hours. Join the millions of people who
[41:26] have seen what online therapy is really about.
[41:28] It's always a good time to invest in yourself because you
[41:30] are your greatest asset. And a special offer to all ATRM
[41:34] listeners. You can get 10% off your first
[41:36] month of professional therapy at betterhelp.com/atrm.
[41:42] That's Betterhelp help.com/atrm. Thanks again to Better Help for
[41:48] sponsoring this episode of All the Right Movies.
[41:54] The middle. We're picking up directly where
[41:58] we left off in this section, an uncomfortable family dinner
[42:01] followed by the iconic sunken placing.
[42:05] Matthew, you're going to get the ball rolling here.
[42:06] Yeah, I mean, you see it uncomfortable this.
[42:09] Yeah, it's just horrific. And it's a great opportunity to
[42:13] talk about another prompts that we probably wouldn't have time
[42:16] space for elsewhere. Caleb Landry Jones is Jeremy
[42:20] absolute piece of shit but a great.
[42:22] Performance. He's.
[42:24] Great. He's great in Three Billboards
[42:26] as well. Yes, he is.
[42:29] He's really good. But one moment that got me and
[42:32] it was only like last week when I watched this, I did think, how
[42:35] many times have they played the snow?
[42:36] You are with other men that Rose has brought home.
[42:39] They've gone through the exact same lines and I think that's
[42:42] why Jeremy is the way he is. He's bored.
[42:44] Bored of it? Yeah.
[42:45] He's the wild card and he just wants to lay Chris out and get
[42:48] it over and done with. Doesn't care that people arrive
[42:51] in the next year to bid on them and they've got to play the long
[42:54] game. He's just thinking, I just want
[42:56] to rile them up into like that confrontation.
[42:59] And yeah. He's already done 4 in his head
[43:01] isn't he's like. No patience for.
[43:02] This for this facade, yeah, he's.
[43:05] Pushing the boundaries, isn't he?
[43:06] Yeah, and I just think his dialogue gets so carefully
[43:09] chosen because he's he's seeing racist things, but in a very
[43:13] subtle way, like talking about Chris's genetic makeup, and he
[43:16] could be a beast. He's choosing it very carefully.
[43:20] And it's one of these scenes where, again, just look at all
[43:22] the little glances going on between the other members of the
[43:24] family, like Missy to Dean, Dean to Jeremy.
[43:27] And Dean says, let someone else have the floor, basically,
[43:30] because you're going to give this whole thing away and fuck
[43:32] it up if you keep on going the way you are.
[43:35] But again, there's so many double maintenance going on.
[43:38] You know, Dean is only asking Chris what sports he does
[43:40] because he wants to know how physically fit he is because
[43:43] that's going to be important the next day.
[43:45] And, like, what kind of price are they going to get for him?
[43:47] And one of my favorite little details in the film is the way a
[43:50] Dean perks up and looks at Chris when Chris says he was.
[43:53] He is too brutal because, I mean, Chris isn't a fighter.
[43:56] He's not going to put up much of A struggle when if things do
[43:58] have to get physical with him. And it's Dean's faces aside,
[44:02] interesting. Just such a little detail you
[44:06] can miss. And it's brilliant.
[44:07] And then Jeremy at the end, you know, I wasn't going to hurt him
[44:10] before walking out. Just what we had to leave that
[44:13] scene. So.
[44:14] It's a great performance and one thing I've read and I hope this
[44:17] is right. If people who are martial arts
[44:18] better than I do, feel free to correct me, but.
[44:21] I can't imagine that's many then.
[44:22] Well, yeah, I mean, I am. Just look at me.
[44:24] I'm clearly at the top of my game, but.
[44:30] Matt Claude Van Done. Matt Claude Reigns.
[44:42] Outrageous. So and so.
[44:43] Matt Black belt. But obviously at this point,
[44:48] Jeremy brings up jujitsu because Chris says he does judo.
[44:51] And apparently the difference is with judo, that's about standing
[44:54] your ground from people to the ground or over your back,
[44:57] whereas jujitsu is about grappling your opponent to the
[45:00] floor with you, which you do see with Jeremy's attacks.
[45:03] But he also says it's like chess.
[45:05] You know, Judah 2 is about thing in 3-4 moves ahead, and that's
[45:07] what Chris ends up doing. You know, totally a bit of how
[45:10] he avoids getting sent to sleep by stuff in the cotton disease.
[45:14] So yeah, it's a brilliant saying, really unsettling and
[45:16] just sets up, you know, more plot threads are going to get
[45:19] paid off later on. Yeah.
[45:21] I mean, look at all of the meaning that you've pulled out
[45:24] of that, Matt, and you haven't even talked about Just on the
[45:27] surface, it's a really uncomfortable scene just from
[45:29] like a meeting the parents family kind of perspective.
[45:32] Yeah. Yeah.
[45:33] I mean, we've all been in those situations, but you haven't even
[45:36] mentioned that. There's so many layers to that,
[45:38] that moment. Yeah.
[45:39] Like when Messi goes out, you just see the grandma standard
[45:41] with the cake ready. Just that glimpse and he's, you
[45:44] know what the fuck? And then he's even more
[45:46] uncomfortable. It's like, I'm going to go and
[45:47] get the cake. But how long has she been
[45:48] standing there with that? I was.
[45:51] Yeah, yeah, well, that leads us to the night where Chris can't
[45:55] sleep. And I just love the opening to
[45:57] that scene where he pops outside for a sneaky smoke and the set
[46:01] of the scenes. That classic horror movie stuff.
[46:03] Again, it's Evil Dead, it's name on Elm Street.
[46:05] Going out late at night on your own.
[46:07] Chris isn't investigating a strange noise or something, but
[46:10] the setting is very familiar so you know something's going to
[46:13] happen. Georgina appealing behind Chris
[46:15] in the hallway is classic horror movie stuff, but there's a
[46:19] really well judged musical cue to heighten the fright in there
[46:22] as well. It's terrifying.
[46:23] And it's terrifying when Walter comes steaming towards Chris at
[46:26] full speed, eyes bulging in apparent fury, again heightened
[46:30] by the score. But Peel doesn't give us what
[46:33] we're expecting. Walter V is off and the shock
[46:35] comes from inside the house instead when Missy appears from
[46:38] nowhere with the light over the light switch.
[46:40] Yeah, you feel on edge on that sequence as well, because he's
[46:42] going out for a smoke and he's not supposed to.
[46:44] And he's been told that it's bad from Don't Smoke in front of my
[46:46] daughter. And we disagree with all that,
[46:48] obviously, because they wanted to keep his body as pure as
[46:50] possible. You know, it's brilliant.
[46:52] And you're on edge anyway because he's just kind of
[46:54] sneaking around. Yeah.
[46:55] Yeah, which is great and it's. Just that she like, what the
[46:58] fuck are we have Walter charged in the water?
[47:00] Like, yeah. What, you just think he's going
[47:03] to run? Them at me.
[47:04] Yeah, because you you automatically think that they're
[47:06] in trouble, although the because they're the black characters.
[47:09] So you're on edge with these day Weird.
[47:10] There's something going on with these guys.
[47:11] They're going to try and overtake the House of this
[47:13] lovely family and this guy running straight for the camera,
[47:16] you're just like, fuck, he's going to have to, he's telling
[47:18] us something wrong, we're going to find out something here.
[47:20] And then he just beat us off. We're doing laps from the
[47:22] gardens is ridiculous. It's not a paranoid verse.
[47:25] Watch. But obviously the elder Armitage
[47:27] Roman was a runner and got beaten by Jesse Owens of the
[47:30] Olympics. That's what we're told at the
[47:31] start. Possibly a reason why Roman was
[47:34] motivated by race hate. Yeah, Yeah.
[47:36] Maybe he got. Over as well first place.
[47:38] That's a. Great line.
[47:40] Yeah, you nearly put that in the end as well, didn't he?
[47:42] Nearly. When he caught up with him, he
[47:43] nearly said I've beat you now, Jesse.
[47:45] Really. Yeah.
[47:46] But he decided not to put that in.
[47:47] Like when he tackles him down. He was going to beat you now
[47:49] Jesse in there of course, but feel thought that was just too
[47:52] on the North. Yeah, far too on the North.
[47:54] Definitely glad it's not in. Yeah, yeah, it's a double scare
[47:57] as well. Once that once he is off, Chris
[48:00] turns around and sees Georgina in in the window.
[48:03] That's great. The scene for me is just is
[48:05] seeing that something place and seeing the way that he's
[48:08] manipulated and lets himself go and the way that she's been
[48:13] collecting information all the way through when she first taps
[48:15] that glass is what he mentions the death of his mother and how
[48:18] vulnerable he is. And she's kind of like, oh,
[48:20] right, there's there's a signifier.
[48:22] So she's done that and automatically tapped that, which
[48:25] I love that silver spoon because that's an ultimate sign of
[48:27] privilege being silver spoon in your mouth.
[48:29] So you're able to tap that side of privilege against tea.
[48:32] You know, the Boston Tea Party and all this kind of stuff and
[48:34] all the history of it. It's just so subtle, but like so
[48:38] massive. It's just such a punch in the
[48:40] gut way. It's just like, yeah, that's
[48:41] that's how easy it was for white people to just manipulate Bang,
[48:44] bang, bang, done. You know, they've got pure
[48:46] control. And I love that.
[48:48] But what I really, really love is the the look of the something
[48:51] place and kind of what it represents.
[48:53] And an appeal said that the something place means we are
[48:55] marginalized. No matter how hard we scream,
[48:58] the system silences us. And that's huge for me.
[49:02] I love the way it looks. I love the way he's fallen into
[49:03] that slow motion. I love the way it's just
[49:05] completely black. Reminds me of like, you know,
[49:08] the work that was done in gravity and things like that,
[49:10] where it's just this complete space.
[49:12] But it's when he looks up and sees how far he is from reality,
[49:16] but he is still himself, you know, it's that horrible
[49:19] feeling. But that they must have, you
[49:20] know, as that lesser race, I guess, in the world's eyes to
[49:24] try and have an opinion or try and say something and they're
[49:26] just getting pushed down. And no, the system is going to
[49:28] push you down. And you can scream as loud as
[49:29] you want, but we can't hear you. You know, I think it's
[49:31] incredibly, incredibly powerful. Then we can all, you know,
[49:35] appreciate that on one level or another where you have your
[49:37] opinion and want to try and get across and you want to feel
[49:39] respected and listen to and it doesn't necessarily happen.
[49:42] And he does it on such a huge on huge scale.
[49:45] I mean, I'm, I'm the same when I'm trying to speak to you guys
[49:47] about space hunter or something, I feel like I'm in like the
[49:48] sunken area. I'm sorry.
[49:53] I hope he never fucking wakes up.
[49:56] I think it's great. Like it's just that really
[49:58] lovely mix of practical and CGI. Love the way he's actually on
[50:00] wires and it's on a black background and it's literally
[50:02] nice and it looks really good and it really gets the point
[50:04] across without it being cheesy. Could have, could, it really
[50:06] could have been, oh, I'm in the sunken pool, you know it's on.
[50:10] In lesser hands it could look really shocking, but it looks
[50:12] brilliant and I absolutely love it.
[50:13] I love everything. That disconnect from reality.
[50:16] I think that's really, really well done and doesn't take out
[50:18] the film either. That doesn't make you think, Oh
[50:20] well, this is a supernatural film now.
[50:22] No it doesn't. It's in keeping with the whole
[50:24] it. Is, yeah, it is, yeah, Peel
[50:26] said. There are many different social
[50:28] phenomenons that the song of players represents.
[50:29] But in the moment, I was thinking about people who had
[50:32] been locked away for having some weed on them because he used to
[50:35] be a weed monster. In his words, he says there's a
[50:38] cultural epidemic of black men being taken and locked away in
[50:40] dark places where we don't have to acknowledge or think about
[50:43] them. Realizing that was the first
[50:45] time I realized the potential importance of this piece of
[50:48] expression. Great stuff.
[50:51] And he's right in the scene. He said it evoked some really
[50:53] immortal feelings. He said there was a point in the
[50:55] process where I got to something that was very vulnerable.
[50:58] The fun evolved into tears, and I ended up crying that day.
[51:01] And it was a cathartic thing. I think he kind of really
[51:05] culturally hit upon something by doing this scene.
[51:09] It crossed over. It became a meme.
[51:11] It became a relatable concept to so many people that wasn't there
[51:15] before SO. Simple, it's it's the thousand
[51:18] voices that have been silenced that he's finally let scream.
[51:21] Some people get on the big screen, and he's actually given
[51:24] all of these people who have been silenced over the history
[51:26] of the world, you know, their final chance to say we matter,
[51:29] we have something to say and we've been pushed down by
[51:32] society and we've been allowed to do that.
[51:34] And it's and. We've got a visual
[51:35] representation of that, something that is culturally
[51:37] accepted and culturally well known.
[51:40] Yeah. And I think that's why it
[51:41] resonates so much. I mean, just the just those,
[51:44] those images of Daniel Collier's face, the one T of the red and
[51:48] eyes, yeah. I mean, it's just imprinted in
[51:50] the cinema history that now, yeah.
[51:52] Just that feeling of absolute loss and powerlessness, it's
[51:56] just completely powerless. I love the distortion in Missy's
[52:00] voice when she says sink. Yeah, yeah.
[52:04] Now sink into the floor. Wait, wait, wait, wait, wait,
[52:09] wait, sink. And how good is Catherine Kane
[52:15] as well? Yes, it's such an understated
[52:18] performance, but incredibly wicked.
[52:20] Yeah, yeah, really creepy. Just.
[52:24] She's consistently great as well.
[52:26] She is. I mean, yeah, she's always.
[52:27] Brilliant, So great scene containing the defining image
[52:30] from Get Out and one of the most memorable in 21st century
[52:33] cinema. Our next scene in the second act
[52:38] is the increasingly creepy house party scene, completes with
[52:41] outrageous behaviour from all partygoers.
[52:43] Matt, you're up first again. Yeah, I mean, this is where it
[52:47] gets even weirder for Chris. He's already had to put up being
[52:51] hypnotized by his girlfriend's mom the night before.
[52:54] The garden has been running Adam for no reason like And it just
[52:57] gets worse from now on and clearly just plays it so well.
[53:02] Like just wandering around wondering what the hell is going
[53:04] on with these people. All these comments, loads of
[53:07] patronizing comments about the African American experience.
[53:11] Black is in fashion. Outrageous.
[53:13] They're all a fan of Tiger Woods.
[53:14] Oh my God, you know, it's such a horrible cliche, isn't it?
[53:19] Is. It's like the office.
[53:21] It's like it. Is it is?
[53:22] He's not. His favorite black actor?
[53:24] Yeah. Mr. Sidney, 40.
[53:26] Mr. Sidney, 40. Yeah.
[53:28] Like when he and he's basically he's just getting felt up by the
[53:30] women. Like how handsome is like
[53:32] squeezed his arm and asking was is it better?
[53:35] Like absolutely outrageous and but again, just the comments
[53:39] just make so much sense when you realize what they are there for.
[53:41] Yeah, when you see Andrea as well, just spinning around as if
[53:44] he's shown his body off, that's the first shot of him.
[53:46] I've got that like the third watch, I'm like, fucking hell, I
[53:48] would have missed that. Yeah, exactly.
[53:50] Well, I mean, yeah, because I do have to talk about the Keith
[53:52] Sanfield here because this performance is so good.
[53:56] It's so weird. It's so chilling.
[53:58] He looks so out of place on the arm of that woman, but it's all
[54:01] in his eyes. He can practically see on rear
[54:04] behind the eye, screaming to escape.
[54:06] And yeah, that little twirly does because initially he just
[54:09] seems really patronizing until, like you say, where's he went
[54:12] when it clicks, you know? Oh, my God, that's what he's
[54:14] doing. He's showing.
[54:15] Us why he's there he's getting showed off because he's the last
[54:18] one to be abducted. So he's the last one where this
[54:20] procedures work and just bringing them back to go.
[54:22] Do you know this is what I've got?
[54:25] This is what you can get. Yeah, and all the dialogue.
[54:27] I was like, when he leaves and he says I'll have to let you all
[54:30] get on without the aid of my marvelous wit.
[54:32] Yeah, and the mannerism cycling. Chris raises his fist to do with
[54:35] fist bump and he just shakes it instead.
[54:37] That's so good. It's so good.
[54:40] It's the biggest representation you could ever need in this
[54:43] film. Yeah, exactly.
[54:44] It's like, of course, that's an old white man's brain in that
[54:47] body. It's such a lead performance.
[54:49] I absolutely like, I mean, Stanfield has maybe what, 3-4
[54:53] minutes of screen time overall, he makes the most out of it.
[54:56] He's so iconic in this. And then I mean, you talk about
[55:00] iconic Saints. I think you have to talk about
[55:01] Georgina in the bedroom with Chris as well, because that just
[55:05] arms up the tension to an unbearable level here because
[55:08] that close up of her, the fixed screen, which contrasts so well
[55:12] to what's going on again with her eyes.
[55:14] And again, that one slow trickling down.
[55:18] And I just think that dialogue is so good.
[55:20] You know, it's, it's like bread crumbs from Jordan Peele gone.
[55:23] Here's some more clues for you. Calling the mobile a cellular
[55:26] phone. Yeah.
[55:27] Doesn't understand what snitched me to 1st.
[55:29] Oh, Tattletale. Tattletale.
[55:32] That's amazing. It is amazing.
[55:33] That is amazing. And then which?
[55:34] Goes I don't answer to anyone. Yeah, because you're the
[55:37] grandma. You're not the hell.
[55:39] You're the grandma. It's just that scene just blew
[55:42] my mind when I saw the cinema. That huge close up of a face,
[55:46] just brilliant. A little.
[55:47] Unsettling. It is.
[55:48] It's so uncertainty like, like Chris really get out, like don't
[55:53] know what's going on, but just don't be around here.
[55:55] That's how good Peel is without this.
[55:56] Like, what motivation is that? You are trapped inside this
[55:59] body. Yeah.
[56:00] And you are screaming to get out.
[56:01] You were allowed one tear. That's your expression.
[56:03] And everything else is shut off. Shut down.
[56:06] Don't stop, smile. Don't stop, Smile with your
[56:09] eyes. Brilliant.
[56:09] That fix close up bond take doesn't doesn't cut away, No.
[56:14] And her repeated nose. Oh, no, no, no, no, no, no, no,
[56:18] no, no, no. Oh, wow.
[56:20] Yeah. Incredible stuff.
[56:21] Brilliant. Brilliant Westy, what about you
[56:24] in this scene? It's really, really good.
[56:26] It's really, really clever and it's so much better on the
[56:28] second and third watch when he goes upstairs and there's just,
[56:31] everyone stops, just looks. It's brilliant, like.
[56:35] Invasion of the body snatches, Yeah.
[56:36] And he's got the camera and he's just walking around and then he
[56:39] zooms in on Dean and Dean points at him as it was like that guy
[56:43] there and everyone could turn around like, oh, is this the one
[56:45] I'm interested in this That's really good, you know, And
[56:47] everyone else wearing black, the blind guy who wants to wants to
[56:50] actually have his body or his eyes is, is dressed fully in
[56:53] black, which is great. I like that little twist where
[56:57] it's he wants his eyes and that's what he's kind of looking
[56:59] for. But in my mind, he needs his
[57:01] brain as well. Because, you know, as a
[57:03] photographer, it's not just your eyes, it's what you program your
[57:05] eyes to see. So it's not just a case of that,
[57:07] which I think that is a little bit that's a tiny bit slack for
[57:10] me. But and the other thing as well,
[57:12] that really grates on me. And there's not much because
[57:15] this is just a tiny, tiny point in an otherwise perfect film.
[57:20] It's just that camera flash. OK.
[57:23] Triggers them out, right. It's a really common thing to
[57:25] have a flash and light or a camera flash.
[57:27] I have to something to get them out with a hypnosis that easily.
[57:30] Yeah, it must have happened by now.
[57:33] It must have. The can't just go away and live
[57:35] a life anyway. So I don't know if there's a
[57:37] community somewhere where's all these are the guys that Rosa's
[57:39] got, Where are they? Why aren't they all part of a
[57:42] community? They have just kind of
[57:43] disappeared. It's all a little bit weird of
[57:45] like understand the motivation of why they do it, but how did
[57:50] they do it? How does it evolve?
[57:52] How does it? Oh, it's fine if you keep them
[57:54] on your property as your grandparents and you keep an eye
[57:56] on them and then that's fine. But if they're going out into
[57:59] the world or going out into the suburbs and someone takes a
[58:02] photo of them, they're going to run wild.
[58:04] And it's not just a one off because it happens again at the
[58:06] end. They're going to just wake up
[58:07] and what the fuck and don't know where they are and it's just
[58:10] going to be absolute Helen. And I don't really think that's
[58:13] highlighted enough. Is a, it's a massive thing.
[58:15] I wish it should. It could have just been
[58:16] something, I don't know what it could have been.
[58:18] I haven't had a chance to think about it to that level.
[58:20] But I would have loved it to being something a little bit
[58:23] more, just a bit with a bit more thought, just a bit more clever.
[58:26] Something very rare that happened that he has access to
[58:29] something, a new infrared camera that he's testing and has a new
[58:34] flash on it. And there's just like that a
[58:35] little bit in the back story because he's a photographer and
[58:37] I'm going to take this on the trip.
[58:38] I'm going to try this out and it fires by accident and he's not
[58:41] meant to use it outside, you know, or something like that.
[58:44] Yeah, something a bit more nuanced.
[58:46] Yeah, just something that a bit more rare, because I feel that's
[58:48] just quite easy for him to just flash out of it.
[58:50] And then from there, you set it up so beautifully.
[58:53] I feel like he just knocks a few of the pins down a bit too easy
[58:56] and expects us to go, OK then. Yeah, it's really clever.
[58:58] That's really good. All right.
[58:59] It's just a camera flash that grates on me a little bit.
[59:03] Yeah, Peale said on the significance of making Chris a
[59:06] photographer. For somebody who had been
[59:08] through the worst day of his life when his mother died and
[59:10] was in this stasis while watching TV, it would make sense
[59:12] that he chose photography. He's freezing moments and
[59:15] collecting them. Yeah, you're singing it from,
[59:16] You've seen the world through his own eyes as well.
[59:18] I mean to see him in the Stepford Wives as well.
[59:19] I mean the main photographer, he's taken it from there.
[59:23] Peel said that he felt it was kind of like a special power for
[59:26] Chris, the ability to step back and investigate through a
[59:29] telescopic lens, and said it goes all the way to him using a
[59:31] flash to break Andre and Walter out of the sunken place.
[59:34] Camera phones have become such an important tool in the fight
[59:37] against racism. Yeah, yeah, I get that that
[59:39] works. But yeah.
[59:40] But I I certainly take something else.
[59:42] Just something a bit more. Just a bit more, because there's
[59:46] always been camera flashes. Even if you're going back to
[59:48] grandmother, even if you're going back to freaking Wild
[59:50] West, there's always been you've had to have them.
[59:52] Only now, ironically, do you not need them because phones are
[59:55] that good and they've got to have the high of a megapixel.
[59:57] You don't necessarily need a flash.
[59:59] Something I don't know. Yeah, I know, I know, I know
[1:00:01] what you mean. Can I just ask, when you were
[1:00:03] saying about even going back to the Wild West, there was camera
[1:00:05] flashes. What do you think about the
[1:00:07] future? I'd say the clock telling you or
[1:00:12] Jesse James when they take photos of his body at the end.
[1:00:15] Great, that big. Yeah, yeah, fantastic.
[1:00:20] Well, I want to talk about the the the party, the people of the
[1:00:22] party in the bingo game. Oh, nice, yeah.
[1:00:25] Yeah, costume and colour scheme plays a huge part in this scene.
[1:00:28] The red in some form or another on the party goes outfits Chris
[1:00:32] is wearing blue represents kind of the red state, blue state
[1:00:36] divided in America. The the red signifies the secret
[1:00:39] society they're all part of. Roses in red and white, he's in
[1:00:43] blue to kind of signify and all American couple loads of layers.
[1:00:47] When you watch your back, you realise that all these
[1:00:49] interactions that Chris has, they're basically assessing
[1:00:52] Chris's attributes to work out if he'd be a suitable donor.
[1:00:55] Once I can know about his golf game.
[1:00:57] Another basically wants a virile young man to have sex with
[1:01:00] Outrageous, and it all feeds into the bingo scene,
[1:01:05] particularly their interaction with the blind art dealer Jim,
[1:01:08] who you think is on the level because he's outside of the
[1:01:11] party by himself and he's blind. So that kind of how can he be
[1:01:14] sinister if he's blind? It kind of takes that away from
[1:01:17] him a little bit. But he turns out to be his
[1:01:19] heinous as everyone else. And this character had to be
[1:01:23] played by Stephen Root. Yeah.
[1:01:24] Of course he did. The casting is pitch perfect.
[1:01:27] Same as old brother, isn't it exactly Stephen Root?
[1:01:30] Yeah. Exactly.
[1:01:31] There's a fan bunch of boys. There's a mighty fan of singing
[1:01:34] in a picking. Because you never know Stephen
[1:01:39] Stephen Root's entire career, which goes back all the way to
[1:01:41] Crocodile Dundee. Two, Yes, it does.
[1:01:44] You never know if his character is how his character is going to
[1:01:47] turn out, but there's always an air of weirdness about them.
[1:01:50] Yeah, there's always a fragility there.
[1:01:52] There's always even indulgible, you know what I mean?
[1:01:54] He's always helpful, love for love.
[1:01:57] He's always like, really fragile.
[1:02:00] Yeah, Yeah he is. The moment I find earth
[1:02:02] shattering is the silent bingo scene, which I didn't really
[1:02:05] realise on 1st watch. It's an auction for Chris.
[1:02:09] So unbelievably creepy when you realise what they're doing.
[1:02:12] Absolutely abhorrent. And the music is deafening,
[1:02:15] deafening, and it's all been set up so beautifully without any
[1:02:19] signposting. Earlier, Rose takes Chris for a
[1:02:22] walk after the Andre incident, and she does that because they
[1:02:26] need some time out of this party.
[1:02:27] It's an outrage, you know, all of these kind of things going
[1:02:29] on. But she does that because she
[1:02:31] needs to get him out of the pitcher for the auction to take
[1:02:33] place. Fantastic writing.
[1:02:35] Because that isn't a forced beat at all.
[1:02:37] It's completely natural step for those characters to take
[1:02:40] considering the narrative so far.
[1:02:42] Brilliant stuff. Yeah, they don't need his
[1:02:44] picture that big. What if he just happened to
[1:02:46] walk? Back though he's he's been
[1:02:48] paraded around the party. You don't need that picture.
[1:02:50] Where do you get it from? Even if he just happens to get
[1:02:53] back, they could have an argument.
[1:02:54] He could it. Rose is good, which is not
[1:02:56] incredibly good that you can count on at the goal.
[1:02:58] He's definitely not coming back around here outside 5 minutes
[1:03:03] walk away. I know the neighbors on the next
[1:03:05] lake or whatever else but you don't put like a fucking 20 by
[1:03:07] 30 framed image. No.
[1:03:10] Where do they get it from to do with it?
[1:03:16] Yeah. But all of Chris's interactions
[1:03:18] at the party just served to heighten his awareness that
[1:03:20] something just isn't right. Daniel Kaluya said that he can
[1:03:24] relate to that scene. He said, I've been to that party
[1:03:26] before. That kind of racism isn't seen
[1:03:29] as mainstream racism. It's just life.
[1:03:31] And to explore that is quite an uncomfortable conversation, he
[1:03:34] said. Jordan just spoke the truth.
[1:03:35] He's cinematically articulated an experience that millions of
[1:03:38] people go through, and they're made to feel crazy for going
[1:03:41] through that. But he said, no, you're actually
[1:03:43] not crazy. We all feel like that.
[1:03:46] I love that cinematically articulated an experience.
[1:03:49] That's great language. Great phrase, that.
[1:03:52] So still no confirmation that something's badly wrong for
[1:03:55] Chris, but the film sticks to its promise as by the end of the
[1:03:58] second-half, Chris does make the decision to get out.
[1:04:04] The crew. Not Jordan Peele's first screen
[1:04:09] rate and credit. That was action comedy Keanu a
[1:04:12] year earlier. Yes, it didn't really hint
[1:04:15] towards classic horror movie for his second writing credit, but
[1:04:19] that is exactly what we got and I'm going to start us off here.
[1:04:22] What's amazing to me is the subtlety in the writing.
[1:04:24] It's not Mississippi Burning or Django Unchained, It's not
[1:04:27] burning crosses in the KKK. It's much more subtle and
[1:04:30] relatable, I think on a micro level, and it's here in the way
[1:04:34] that people speak to Chris Dean calls him my man and talks about
[1:04:38] Jesse Owens. One person talks about Chris's
[1:04:41] sexual prowess, another one talks about his perceived
[1:04:44] coolness of being black. And this is a universal theme.
[1:04:48] Black people, I'm sure, would have been in situations like
[1:04:50] these, and white people I'm sure, may have acted like this
[1:04:53] and winced at it up on screen. Jason Bloom of Bloom House said
[1:04:56] that he saw his own behavior in the film and wasn't aware of it
[1:05:00] until producing Get Out. And I'm I'm certain he wasn't
[1:05:03] the only one. Yeah, outrageous.
[1:05:04] Jason Bloom calling saying my man to every black person he
[1:05:07] meets. How long this thing been going
[1:05:10] on? You mentioned Georgina earlier
[1:05:15] and the tattletale thing man. She also stumbles while pouring
[1:05:18] the drinks at the start which is brought on by Missy Clink and
[1:05:20] the spoon to the glass. She's obviously used the
[1:05:23] hypotherapy on Georgina but we wouldn't know that on 1st
[1:05:26] viewing so that's why she she stumbles.
[1:05:28] Great. And I really love that scene
[1:05:31] after they've had the family dinner at the start where Chris
[1:05:33] and Rose are upstairs. Roses seeing things from Chris's
[1:05:36] perspective. If it was Chris who was
[1:05:38] complaining about the Armitage's behavior, you know that would be
[1:05:41] expected. You know I told you so and all
[1:05:44] this he does say I told you so, but Peel, flip the dialogue.
[1:05:47] So it was Rose who is outraged. And this serves 2 purposes.
[1:05:50] Firstly, it highlights that Chris sees this behavior all the
[1:05:53] time. He's come to terms with it and
[1:05:55] this is how he deals with it in his way, you know what happens
[1:05:57] all the time. So he's not outraged, he just
[1:06:00] knows the grin and Burt, which is a horrible thought.
[1:06:02] It also tricks the audience into making them think that Rose
[1:06:05] isn't a baddie either. Why would you be going on like
[1:06:07] this if you if you wanted Chris to stay, that's great writing
[1:06:10] for me. Because her reveal at the end,
[1:06:12] like I said earlier, that's not signposted at all.
[1:06:15] That flip. And it's all those subtle little
[1:06:18] things in this writing that reward and repeat viewings and
[1:06:20] give the film just like endless depth.
[1:06:23] Matt, what about you, Screenplay?
[1:06:25] Yeah, I do think it's the reason why you do keep coming back the
[1:06:28] film, because it does have all these layers, because, you know,
[1:06:32] Jordan Peele doesn't use his film to slap you in the face
[1:06:34] with what he wants to talk about.
[1:06:36] And for me, it is how he talks about racism because he doesn't
[1:06:39] go the obvious route with it. And the key scene for me starts
[1:06:42] when the cop asks for Chris's ID and Ross takes control of the
[1:06:45] situation and gets the cop to leave him alone because it's
[1:06:48] just so loaded with weight and meaning.
[1:06:51] Because, you know, it is well known in America there is a
[1:06:54] problem with police violence against black people.
[1:06:56] And on 1st viewing, and this is obviously well before you know
[1:06:59] what Rose is really up to, you think, oh great, Rose is
[1:07:01] standing up for a man Brilliant. But actually by not letting
[1:07:06] Chris stand up for himself, she's saying as a white woman,
[1:07:10] I'm more equipped to deal with this situation than you are
[1:07:12] because you are a black man, which is extremely patronizing.
[1:07:15] No matter how well-intentioned, it's still really patronizing
[1:07:18] because it's robbing him of his voice, which obviously again
[1:07:21] feeds into what they want to do with them ultimately, but also
[1:07:24] his self worth. And it's the same when he has
[1:07:26] that conversation with the Dean. And it's a funny line.
[1:07:28] And we all after when he says, you know, I'd have ordered for
[1:07:31] Obama third time. But it's the same patronizing
[1:07:33] attitude because he's essentially saying, well, Chris,
[1:07:36] I assume you as a black man would have ordered for Obama,
[1:07:39] but you wouldn't twist it around.
[1:07:40] You wouldn't say today. Well, I assume you would have
[1:07:42] ordered for Mitt Romney, Trump, Trump because you're a white
[1:07:45] man. It's, it's, it's what you said
[1:07:48] there, Luke. He's not going after the KKK.
[1:07:50] He's not going after the Red Hat.
[1:07:52] Whereas in America, he's going after people who think they're
[1:07:55] allies. He's going after people who
[1:07:57] listen to 1 hip hop album and we'll start talking like Eminem
[1:08:00] in everyday life. And that's why this film is so
[1:08:03] uncomfortable to watch for so many people, because it's not
[1:08:06] the easy target. Yeah, it's a cultural
[1:08:08] interpretation of a whole race, isn't it?
[1:08:10] As opposed to just finding out one person's tastes or style.
[1:08:13] It's kind of just an assumption. And I think another thing going
[1:08:16] back to what Rose was doing is not getting a paper trail from
[1:08:20] the police. So if they run both the
[1:08:21] licenses, they're going to know that she was with him and then
[1:08:23] he's gone missing all of a sudden.
[1:08:24] Yeah, I think she's covering our tracks as well, which is doubly
[1:08:27] genius, Yeah. Yeah, it is.
[1:08:29] It's really great. And The thing is, like, he's not
[1:08:31] like Spike Lee. Like when Spike Lee makes a
[1:08:33] political point, he's a real black band and it's like getting
[1:08:35] punched in the face, you know? Yeah, yeah, I love it.
[1:08:38] But Jordan Peele is like, you know what?
[1:08:40] This is how it is. And it's up to you to decide if
[1:08:43] you've done these things or not, if you've taken these attitudes.
[1:08:46] And like, if you look at Jordan Peele as a person in it, in real
[1:08:49] life, he is a Democrat, he is a liberal, but he's not going
[1:08:52] after the other side here. He's going after people who he
[1:08:55] would identify with. And he's saying to them, you
[1:08:58] know what? You might be my allies, but you
[1:09:00] do have a problem as well. And you need to acknowledge.
[1:09:03] And I think that's such a tricky thing to pull off.
[1:09:05] And that's why I think this film is so uncomfortable for a lot of
[1:09:08] people because it's like what you said about Jason Bloom, the
[1:09:11] fact to go like made these assumptions and said that kind
[1:09:16] of thing. And you see him because that
[1:09:18] guys back he would have ordered for Obama.
[1:09:21] And then having said all that, he's he's put all this in the
[1:09:24] film, which is about a family of Matt scientists who was stealing
[1:09:27] peoples brains on the surface. And you can watch it on that
[1:09:32] level and still enjoy it. But then you can pick it apart
[1:09:35] and call. He's talking about a lot of
[1:09:37] stuff here. I'm just saying it's such a
[1:09:39] balanced, skillful, bitter item. It's it's just so impressive.
[1:09:44] Yeah, it's incredible. And you know, one of the other
[1:09:46] people who didn't really pick up on the on the right and was
[1:09:49] Bradley Whitford, who plays Rosa's dad.
[1:09:52] That line, the I would have voted for Obama for the third
[1:09:54] time. He didn't realize it was a
[1:09:56] satirical jab at condescending white liberals and actually
[1:09:59] thought it was just a nice sentiment.
[1:10:02] And it didn't dawn on him until after the release of the film,
[1:10:04] and he realized he was the kind of person being skewered by
[1:10:07] peels, right? Exactly.
[1:10:09] But there you go, that's exactly the target.
[1:10:11] Fantastic, I. Mean there's another great line
[1:10:13] that just keeps coming in. Behave.
[1:10:14] When you're talking about Dean's walking around the house and he
[1:10:16] just talks about the basement, he goes, we've got some black
[1:10:18] mold down there. Yeah.
[1:10:20] It's like we've got a mold of black people that would turn
[1:10:22] into white people inside. Yeah.
[1:10:24] But I think I'm going to talk more about the process because I
[1:10:27] know those 200 drafts written with this before you cut, you
[1:10:31] got to the final. And for me, that would be
[1:10:33] incredibly difficult to change. Once I got that final draft, I'd
[1:10:37] be like, right, people go and I always talk about whether the
[1:10:40] scripts finished and it's on the page like a McDonough film or
[1:10:43] whether, all right, Coen Brothers or whether it's an
[1:10:45] outline and it's fleshed along as we go.
[1:10:47] And you can tell with them different films where there's a
[1:10:50] lot of, but this is a lot of ad Lib in here.
[1:10:52] A lot of this is improvised, especially Lil Rihori.
[1:10:55] I think he did most of these lines, which you can tell, and
[1:10:57] it's got that real looseness to the dialogue.
[1:11:01] It's that understanding of character, but also the
[1:11:03] understanding of actors. And I think what he's done is
[1:11:05] he's just created this space and he's created this message and
[1:11:10] everyone's allowed to bring what they want to the table.
[1:11:11] And I think that's why it works. I don't think he's one of them
[1:11:14] directors where he's just bossing everyone around.
[1:11:16] It needs to be like this. Do it. 900 takes, he's well
[1:11:19] opened for inclusion and kind of work and with people, and I
[1:11:23] think that that is to ease credit in this film.
[1:11:25] You can see that everyone's having a good time, everyone's
[1:11:27] exploring their character as much as they can, and I think to
[1:11:30] write 200 drafts and then still give people that space to move
[1:11:35] within that you should understand the story.
[1:11:37] Stillwell, you must you know, is it be for beat frame, for
[1:11:40] framework, for word and not being like the coins mean like
[1:11:43] don't even put a different dude in there or a different.
[1:11:45] Don't put a different are in there.
[1:11:48] And he's not, he's not scared of losing the message of someone ad
[1:11:51] libs because you understand that they understand.
[1:11:53] And I think that's really good. And there's one influence,
[1:11:55] especially on the right, I think he's a better writer than he is
[1:11:57] a director because I think that in regards to the humor, because
[1:12:01] I think the humor is delivered through dialogue.
[1:12:04] There's not many visual gags in this film, so I don't think he
[1:12:06] understands the language of the camera.
[1:12:08] The only one is when Norman's running and then he turns last
[1:12:11] minute and runs away from the camera.
[1:12:12] That's probably the only kind of visual camera gag where there's
[1:12:15] no dialogue, but everything else is thought through when it's
[1:12:18] written down. I think that just comes from his
[1:12:20] right and past, you know, being in television and doing that
[1:12:22] show. And it has to be dialogue
[1:12:24] because you don't have a lot of moving camera and you don't get
[1:12:26] a chance to do that. So for me, he is a better
[1:12:28] writer. But it's a film that but haven't
[1:12:31] mentioned that I think is really, really important.
[1:12:33] And he hasn't mentioned that either.
[1:12:34] It's Guess Who's Coming to dinner, and I think that's such
[1:12:37] an important film for their lunch.
[1:12:39] And you just think, yeah, he's taking a lot from that.
[1:12:41] He obviously taken a lot from Rosie's be able to step forward.
[1:12:44] But also on the sequence where he's being hypnotized, that's
[1:12:48] Silence of the Lambs. That's Jonathan Demi shot for
[1:12:50] shot because they're straight into the camera, camera, camera,
[1:12:53] camera. And he's like, I'm going to take
[1:12:54] Jonathan Demi here. I'm going to take this and say,
[1:12:57] and I think that's in the writing of like, he knows how.
[1:12:59] I think he's written the shot list as well as he's written the
[1:13:01] dialogue. And I think that's.
[1:13:03] Why he chose to be a director? Exactly.
[1:13:05] So he knows what it's. Going to look.
[1:13:06] Like he knows where he's going to put the camera, so he's not
[1:13:08] really playing with the camera. He's playing with the dialogue
[1:13:10] and the actors and giving them space.
[1:13:12] He's setting up the frame, knows it looks great, and just went
[1:13:14] right. Fill that with everything.
[1:13:16] These are my ideas on the page. Add what you want.
[1:13:19] As a writer, I don't think actors need any more than that.
[1:13:21] I think that's a beautiful thing.
[1:13:22] Yeah, I know the influence that the living dead black
[1:13:25] protagonist. Yeah, probably the last last
[1:13:28] time horror films done that until this.
[1:13:30] Protagonist Yeah, yeah, but what was the only film, what was the
[1:13:33] first film of African American survivors 9 on Elm Street 3.
[1:13:37] Three, Yeah, that's right. King kid from three.
[1:13:39] Yeah, he dies in. The first, but he was the first
[1:13:44] to survive and that would have been what, mid 80s?
[1:13:46] 87. 87 yeah, yeah. So it's been a long time coming
[1:13:49] to have a black protagonist. It is.
[1:13:51] And but when it's now the Living Dead 60. 68.
[1:13:54] Yeah, I think, yeah. So, you know, well worth.
[1:13:57] E 5 some Dawn of the Dead though, doesn't he?
[1:13:58] The black protagonist and that he gets to win the helicopter.
[1:14:01] All right, yeah, Dawn of the Dead.
[1:14:03] Yeah. But again, that's. 78 that's. 78
[1:14:06] So it's like, yeah, but yeah, I mean, it's very sporadic where
[1:14:10] we'll have to really think, yeah, it's the one.
[1:14:13] You know it's the more than one. Yeah, there should be a lot more
[1:14:15] and I think it's come along and just went.
[1:14:17] I'm probably better the most white protagonist because I can
[1:14:19] really act. So boom, yeah.
[1:14:23] Stage that. Yeah.
[1:14:24] I mean, look at the way that the dialogue is delivered by Chris,
[1:14:29] the way he talks to Rose, the way he talks the armitages is
[1:14:32] completely different. The way he talks to Rod, he's
[1:14:35] code switching. He's adapting the circumstances
[1:14:38] to fit in. Where is there not?
[1:14:41] They're just the same all the way through, yeah.
[1:14:44] It's great. I mean, jeez, the writing is
[1:14:46] superb. Yeah, it's superb.
[1:14:49] People got the idea for the film when Obama was in office, 2009.
[1:14:53] People are exclaiming that it was the end of racism in
[1:14:55] America, and it was something that Peel had yet to experience.
[1:14:58] Yeah. And he plowed this into a
[1:15:00] script, thinking that he'd never seen a horror movie from his
[1:15:02] perspective, but bubbled away for a while until he pitched it
[1:15:06] to producers Sean Mckittrick about five years later.
[1:15:09] And Kittrick like the idea so much that he bought a pitch and
[1:15:12] paid Peel to write the screenplay.
[1:15:14] Yeah. Nice.
[1:15:15] Peel set it up with he is something that you're just
[1:15:18] definitely not going to like. And he said it and he's like,
[1:15:20] no, actually, I love that. Yeah, right.
[1:15:22] Great. OK, so that brings us to our 2nd
[1:15:25] and final question from one of our patrons.
[1:15:27] It's a game from a long time supporter of ATRN, Ryan Chippo.
[1:15:30] Hello. Hello.
[1:15:31] Hello, Matt. Hello, Ryan.
[1:15:33] Yes, yes, Ryan asks. Do you think Jordan Peel will
[1:15:37] fizzle out in a few years or do you think he can keep making
[1:15:39] solid movies for years? It kind of reminds me the start
[1:15:43] of M Night Shyamalan's career. Curious to see which way it
[1:15:45] goes. What do you think that?
[1:15:48] I think that Shyamalan comparison is really interesting
[1:15:51] actually, because I think if you go from 6th Sense, which I know
[1:15:55] wasn't Shyamalan's debut, but it is breakthrough film, so I see
[1:15:58] that's a jumping off point night and then he doesn't break.
[1:16:00] Well, then you decide. I do like all those.
[1:16:03] I think they've all got flaws to them.
[1:16:05] So I don't think the stack up against Peel following this up
[1:16:08] with us. And then no, I think Peel is a
[1:16:11] better writer, probably a better director as well.
[1:16:14] But what's newest to me, and it is an interesting question, is,
[1:16:17] does Peel stick in this fantasy, sci-fi whole genre?
[1:16:20] Because I think if you just stick in one genre, I think it's
[1:16:23] really hard to stay fresh and to keep feeling relevant, which
[1:16:27] will be a challenge from if that's what he wants to do.
[1:16:29] But equally, if he makes the jump to another genre, is he
[1:16:32] going to be able to do that? You know, what would a Jordan
[1:16:34] Peel Wall film look like? Could he could he do a spy film?
[1:16:37] Could he make a romantic comedy, You know, so I mean, I certainly
[1:16:41] hope he doesn't fizzle out because, you know, love pretty
[1:16:44] much well, half. I've loved all three of these
[1:16:46] films so far, and I'm certainly confident we'll get more great
[1:16:49] films from him. But yeah, it's going to be
[1:16:50] interesting to see. Does he stick to this one genre?
[1:16:54] And if he doesn't, how successfully will he adapt to
[1:16:56] other ones? So that's the big question for
[1:16:58] me, I think. Pretty much the same.
[1:17:00] I think these films have got a little bit more style of a
[1:17:02] substance as they've gone through.
[1:17:04] I don't think Us or No is as good as this content wise.
[1:17:09] I think that's just the the well, I'll get into that one.
[1:17:11] Talk about the cinematography. I think that's got a massive,
[1:17:13] massive thing to do with it. But yeah, I mean, it's it's
[1:17:15] fresh and he's got fresh ideas and he is making the most of a
[1:17:19] genre that people have tried to emulate.
[1:17:21] But he's doing it with a real love coming from a place of
[1:17:25] appreciation. And the sci-fi elements he
[1:17:28] brings to no great. You know, that claustrophobia
[1:17:31] that he brings to us is great. The the tension that he brings
[1:17:34] to Get Out is fantastic. I just don't know if he just hit
[1:17:38] too big too soon and like like Matt says, where does he go from
[1:17:42] now? It's 5050.
[1:17:44] He could either come back with an incredible remake of
[1:17:46] something and just go fucking hell, I didn't even know that
[1:17:48] film existed, or come back with a different genre to find and
[1:17:51] piece that he did with Get Out. Or he might he might fizzle out
[1:17:54] with a bad film. I don't know.
[1:17:56] I'd like to think that Peel's got more in his locker than
[1:17:58] Shyamalan, to be honest. Yeah, and Knight has made a
[1:18:01] couple of good ones, but the least said about the rest the
[1:18:03] better for me. I think Peel is a very smart
[1:18:06] writer and his films feel like real event movies.
[1:18:10] There was a huge buzz when Nope was announced, I remember.
[1:18:13] Not on the same level, but a similar feeling that I get when
[1:18:17] like a Christopher Nolan film is announced.
[1:18:19] But he's in that very small group of directors who's got big
[1:18:22] studio backing and seemingly allowed to do what he wants to
[1:18:25] and only really think of Nolan, Tarantino and Scorsese.
[1:18:28] He's got that kind of creative freedom on a really big scale.
[1:18:32] Yeah, like crossover into like blockbuster territory, Yes.
[1:18:35] Spielberg. Well, still.
[1:18:37] Yeah, of course. Spielberg.
[1:18:39] Yeah, naturally. Spielberg.
[1:18:40] Cameron. OK, OK, OK.
[1:18:43] Just. The.
[1:18:45] Ones you like, Yeah. No, but he's broken into a
[1:18:48] seemingly impenetrable group. Yeah, after three films.
[1:18:51] Yeah, after three films and he's the only black man in there.
[1:18:53] And he's the only black man in there.
[1:18:55] Exactly. Yeah.
[1:18:55] Yeah. So I think that's really
[1:18:57] remarkable from three, three films in.
[1:19:00] And I think what holds him in good stead is his age.
[1:19:02] He's not a kid. He's 44.
[1:19:03] And he's experienced, like you were saying earlier, near the
[1:19:06] top W he is that he's known the industry from the ground up,
[1:19:09] Right. And working in TV producing and
[1:19:12] I think he's got some really inventive original ideas,
[1:19:15] something of a rarity these days.
[1:19:17] And I still think we're going to get another couple of
[1:19:19] masterpieces from his, from his filmography.
[1:19:21] Yeah. I look forward to them.
[1:19:22] Like this one? Yeah, great.
[1:19:24] Thanks for the question, Ryan, and much appreciate.
[1:19:26] It thank you, Ryan. Yeah.
[1:19:30] And now we're moving to our second crew member, Toby Oliver,
[1:19:33] who shot the film, and we're just going to let Westie go on
[1:19:36] this. Right.
[1:19:39] OK. Toby Oliver, Australian.
[1:19:41] He did Wolf Creek 2. He did Happy Death Day.
[1:19:43] He did Happy Death Day to you. He did the dirt, which was that
[1:19:46] motley crew. Yeah.
[1:19:49] Day shift with Jamie Foxx. Have you seen that?
[1:19:51] That's a lot of fun when he hunts fun players through the
[1:19:54] day. It's good.
[1:19:55] But they all look, they all have this look, this safe look this.
[1:19:59] Just get it on the screen, get it exposed, move the camera
[1:20:02] where you want to. And I think working with Toby
[1:20:04] Oliver Peel was just like, I need someone who can turn the
[1:20:06] camera on and point it somewhere and light it to a lot.
[1:20:09] I think it looks nice and move it where to the speed.
[1:20:13] I want them to move it into the place that I want to move it to.
[1:20:15] So I think there's not a lot of Toby Oliver in this film or any
[1:20:19] of the films that he's done. And I'm not saying that that
[1:20:21] makes him a bad cinematographer. I think that makes him an
[1:20:24] incredible cinematographer because he's not looking to put
[1:20:26] a style or a stamp on anything. It's just peel going.
[1:20:29] Just get it on the screen, get what I want to see on that
[1:20:33] screen. And that's what he's done.
[1:20:35] And that's why I love this film, because it all feels like Jordan
[1:20:37] Peele. It feels like he's looking at
[1:20:39] every shot, looking at every camera, moving, going.
[1:20:41] That's exactly what I want. Now.
[1:20:42] If you look at us, he's moved on to Michael Julakis, who did It
[1:20:45] Follows and he did split and he worked with them night time
[1:20:48] land. So it kind of ties it all in.
[1:20:50] But that's a more of a visual. The look of us is completely
[1:20:54] taken from this. It's it's totally, totally
[1:20:56] opposite to this. It's dark, it's the shadows are
[1:20:59] there. It's been more thought through.
[1:21:00] Peel doesn't have as much of a hold of us with the look of it.
[1:21:04] I don't think it's very stylized.
[1:21:07] And then from then with Nope, he's going to Hoyt van Hoyt
[1:21:10] Emmer who did everything since Interstellar for Nolan, Dunkirk,
[1:21:14] Interstellar Spectra, like incredible looking films,
[1:21:17] Dunkirk, you know what I mean? He's gone from Toby Oliver to
[1:21:21] Hoyt Emmer and he shot Nope some sequences on IMAX.
[1:21:25] So he's gone from like the Alexa, the Alexa mini for this
[1:21:28] to the fucking IMAX before I find Hoyt Emmer shooting it.
[1:21:31] So it's to say it's gone from style of a substance is a bit of
[1:21:34] an understatement really, because it definitely has.
[1:21:36] But I think what's great about this is that no QA crew member
[1:21:40] really stands out. And being like other
[1:21:41] cinematography, there's some horror films where you go that
[1:21:43] looks amazing, but there's no context at all.
[1:21:47] Whereas this film is all about the context and it's very safe
[1:21:52] and there's not much to play with the visual side.
[1:21:54] And I like the fact that he does that opening shot in one take,
[1:21:57] but it doesn't feel like Dean Conde doing Halloween, you know,
[1:22:01] that confidence behind that camera movement.
[1:22:03] It just feels like he could go off the frame at any moment.
[1:22:07] Like it's just there and then we'll come around and then the
[1:22:09] doors open. It's not very complex.
[1:22:11] There's not doesn't. Feel like there's an identity of
[1:22:13] the cinematography. It feels like it's Jordan Peele
[1:22:15] who shot. It feels like it's Jordan Peele
[1:22:17] just going, yeah, that looks good, move the camera where I
[1:22:18] wanted to be too. So for that reason it works.
[1:22:21] But it's the same. I mean, I'd like to have seen
[1:22:23] him given a little bit more ad Lib to the cinematography as he
[1:22:26] did to the actors. But like I say, he doesn't
[1:22:28] understand the visuals yet. You just want someone who can
[1:22:30] put it on the screen. So that's why as he's
[1:22:32] understanding visuals, he's going to a better
[1:22:34] cinematographer each time. And I think if he goes for high
[1:22:37] timeout again and shoot something in IMAX again after,
[1:22:39] no, but it's just going to get bigger.
[1:22:41] But I think that's the, again, one of the polls for this film
[1:22:44] for me, that it looks very simple and it is very simple in
[1:22:46] the context is very, very complicated.
[1:22:47] So it all works together really. Functional, isn't it?
[1:22:49] Yeah, well it was. It was he who suggested using a
[1:22:52] dry for wet technique for the sunken placing.
[1:22:56] It was shot on a dry stage at a high frame rate to create a
[1:22:58] sense of floating with clue you're suspended on wires.
[1:23:02] And he wore loose clothes which would get the requisite ripple
[1:23:04] effect from wind machines underneath him to make it look
[1:23:07] like he was falling. Really effective practical
[1:23:10] effects, you know, they're often the best.
[1:23:11] Definitely for that alone, I think he's earned more than
[1:23:14] earned his money from this film. Very much so.
[1:23:17] Backed by a talented crew, Jordan Peele wrote an incredible
[1:23:20] screenplay, explorer and themes rarely seen in any genre.
[1:23:24] Definitely the end. Into the final act of Get Out,
[1:23:32] Chris and Rose make their excuses and already leave the
[1:23:35] Armitage House. But we're in for a shocking
[1:23:38] reveal, Westie. It's fantastic reveal, isn't it?
[1:23:42] Because you're still on the fence.
[1:23:43] You don't quite know what's going on.
[1:23:46] There's this anxiety that's just bubbling under all of this.
[1:23:49] Who do you trust? Who's who's got anyone's best
[1:23:52] interests at heart? Chris is just like almost
[1:23:54] pleading. He's like nearly crying, like
[1:23:56] what's going on. And then you just, it's one
[1:23:59] thing after the other. And when he's actually in the
[1:24:02] games room and then tired of the chair, it's like, is he a game?
[1:24:05] Is this a game? Is what they're doing taken
[1:24:07] seriously? You know what I mean?
[1:24:08] And that's just such an incredible image, you know?
[1:24:11] But this whole sequence is a great payoff.
[1:24:13] But for me, it is just, I don't know, just a little bit thin,
[1:24:17] but how clever the film's been up to this point.
[1:24:19] It's just kind of like a bit, a very kind of standard bang,
[1:24:23] bang, bang there. Yeah, Yeah.
[1:24:24] Do you know what I mean? I.
[1:24:25] Don't know what you mean. Kind of hits the beats of
[1:24:28] traditional horror, doesn't. It yeah.
[1:24:29] And, and I don't know if that's, I mean, that's probably
[1:24:32] brilliant because that's why I love nearly every horror film
[1:24:34] that's come before this. But from this film, I expected
[1:24:36] just to like A twist before the twist and A twist, you know what
[1:24:39] I mean? And it's just like a bang, bang,
[1:24:41] bang. He's in the chair.
[1:24:41] You know what's going to happen, but I just love the way the
[1:24:44] anxiety is ramped. And again, that's down the
[1:24:46] performances. Great.
[1:24:48] Yeah. It's magnificent when Chris
[1:24:50] finds the pile of photographs. Yeah, yeah, a horrible dawning
[1:24:54] on Chris, which for me is tinged with some hilarity.
[1:24:57] Yeah, it's all working. No play makes Jack a dull boy,
[1:24:59] isn't it? Kind of reveal, Yeah.
[1:25:02] When he gets to the photo of Rose and Georgina, it's a double
[1:25:05] whammy shit. That's the housekeeper.
[1:25:08] But also like sexual preferences are out the window for Rose.
[1:25:11] She'll do anything to ensnare someone one suspect, an innocent
[1:25:14] person, man or woman. At least she's not a complete
[1:25:16] bigot. The first four pictures are of
[1:25:19] her. How self involved is she?
[1:25:25] That, I mean it's shocking, but it is quite funny when that
[1:25:29] picture of her and Georgina comes.
[1:25:30] Out. It's great.
[1:25:31] It's well played, yeah. What about you, Matt?
[1:25:34] This thing. I just love it so much because
[1:25:37] it's just this is when it just all comes to head for Chris,
[1:25:40] isn't it? And just that sense of like, I'm
[1:25:42] in so much trouble and I love it.
[1:25:45] I mean, it's a classic horror shot.
[1:25:47] I think that that reveal of roar standing behind the door when he
[1:25:50] when he's looked at the photos and she's been blocked off by by
[1:25:53] the wardrobe door, cup of door. And Williams is so good.
[1:25:57] He is. She just changes her performance
[1:26:00] ever so slightly. There's a little bit of
[1:26:02] coldness, a little bit of woodenness in a delivery because
[1:26:05] she doesn't have to pretend for that much longer.
[1:26:08] And just the sense that he, well, he's not going to get out.
[1:26:11] He can't escape because Missy stirring the cup of tea, ready
[1:26:14] to just tap a Jeremy standing guard at the door and Dean just
[1:26:18] so relaxed to stand in that fire like, yeah, this, this is a done
[1:26:22] deal, Chris, you're not getting out.
[1:26:24] Yeah, it's done this 100 times, Yeah.
[1:26:26] Done this so many times right? It's proper nerve shred and
[1:26:28] stuff. But what gives such power is
[1:26:31] even now you still don't know what they want with them.
[1:26:34] Like, yeah, you know, by now it. Well, it's got to be more than
[1:26:36] sacrificing them or just straight out killing them
[1:26:38] because they could have done that ages ago.
[1:26:40] Yeah, exactly. And I just keep coming back to
[1:26:42] those performances from Cluya and Williams because that she a
[1:26:45] terror he's feeling is so palpable in the way he keeps
[1:26:48] asking me for the keys. Have you found the keys where
[1:26:50] those keys rose? Each time he asks just a little
[1:26:52] bit more tense, it's a little bit more frantic until he just
[1:26:57] screams that other because he's just lost about he's a broken
[1:27:00] man. And then he knows that she's in
[1:27:03] and out and he's utterly screwed and not defeat in his voice when
[1:27:07] he asks for them one last time and he knows he's not getting
[1:27:10] them, but he just can't believe it and he still feels he has to
[1:27:13] ask. Where are those keys, Rose?
[1:27:19] You know I can't give. You the keys, right babe?
[1:27:21] Again, it's another incredible facial expression from Cluya
[1:27:24] when he realizes, yeah, she's in on it and he's.
[1:27:27] Trap Allison Williams as well, which is drops the keys.
[1:27:30] Yeah. And they're just still in her
[1:27:31] finger. Yeah.
[1:27:32] You know I can't give you these keys.
[1:27:33] Yeah, exactly. The way she drops the nice girl
[1:27:36] act, it's brilliant. And one little touch, something
[1:27:39] is sore brilliant. And like, kind of goes back to
[1:27:42] Wesley's point about it. Like throughout the film she's
[1:27:44] looked so like, feminine and warm and alluring.
[1:27:47] That hair just like cascading around the shoulders.
[1:27:50] As soon as she drops that act, she's back in the ponytail.
[1:27:52] Exactly. Really sharp looking.
[1:27:54] She's all curious now. Yeah.
[1:27:56] Astonishing sequence. Great.
[1:27:58] I like the moment where Chris is locked in that room.
[1:28:01] Well, you know, from a strictly like movie and Alice's point of
[1:28:03] view, I don't get my kicks out of it.
[1:28:07] Yeah. It kind of reminds me of A
[1:28:12] Clockwork Orange where Alex is forced to watch those disturbing
[1:28:15] images. Yeah, yeah, very much so.
[1:28:17] I think the sound design is so effective.
[1:28:19] Just the scrape and of that spoon sends a shiver just
[1:28:22] because of what it represents. It's a deeper meaning than than
[1:28:26] just this scene. It's much bigger.
[1:28:27] It's crossed over culturally. Richard Heard plays Roman
[1:28:30] Armitage in that ad that Chris is watching.
[1:28:33] Yeah, it's great. That reminds me of like the
[1:28:34] infomercials from Lost. Do you remember them?
[1:28:36] Yes. Yes, it really does.
[1:28:38] Yeah. Very good, yeah.
[1:28:40] Jordan Peele's notes to Richard Hurd were to envisage his mood
[1:28:44] as a Viagra ad trying to hide deep rage.
[1:28:48] He's saying, yeah, I can do that, Yeah.
[1:28:50] I couldn't. That's why he's an actor.
[1:28:53] Exactly. And I am not.
[1:28:55] But that's the ad tells you absolutely fuck all.
[1:28:58] Nothing tells you nothing. It's just.
[1:29:01] Weird. Very, very unclear what he acts.
[1:29:04] Like more wigs which kind of gives you everything.
[1:29:07] Even underwater, there are slavery references all the way
[1:29:13] through the film. The bingo game is similar to the
[1:29:15] way slave auctions used to be. Yeah, but here Chris is bound in
[1:29:19] leather manacle similar to what slaves were put in.
[1:29:23] And when he makes his escape, he literally picks cotton out of
[1:29:26] the chair to block out the sound of the spoon and cup, something
[1:29:29] that's obviously seen as a symbol of slavery, but Chris has
[1:29:32] reclaimed it as something to fight against racism.
[1:29:35] Yeah, I absolutely love that. I love that.
[1:29:38] Brilliant, isn't it? That's amazing.
[1:29:40] Even if the whole film was shit and that was the payoff at the
[1:29:42] end, I'll be like, this is fucking great.
[1:29:44] That is magnificent, Yeah. A really inventive way of Chris
[1:29:48] getting out of this impossible situation, which again really
[1:29:50] rewards on rewatches. Yeah, definitely.
[1:29:55] So with Chris Brick and free of his shackles, he attempts to
[1:29:58] make it out of the armitages. How House, Which is the final
[1:30:01] sequence that we're talking about.
[1:30:03] Westie, do you want to take this one away?
[1:30:05] Oh, it gets violent, doesn't it? Doesn't It gets violent quick?
[1:30:10] Where did that come from a couple of things wrong with the
[1:30:13] sequence. Why is he taking his head off
[1:30:14] when there's just he's nowhere near prep for the surgery yet.
[1:30:17] He's just wants to cut the top of his head off and then waiting
[1:30:19] for why candlelight that's really weird.
[1:30:24] You can't hear him running up the corridor with a massive
[1:30:27] antlers. He just turned around the last
[1:30:28] minute bang that's in there. And I think when Jeremy gets hit
[1:30:31] in the head as well, that noise he makes when he's on the floor
[1:30:33] and he's just horrible. That's really fucking horrible.
[1:30:38] But the thing I get from the violence in this, it's not just
[1:30:40] gratuitous violence. I mean, it's gratuitous
[1:30:41] violence. It's fantastic.
[1:30:42] I absolutely love it. But there's meaning behind it
[1:30:45] and the symbolism behind it. The way that, you know, Dean
[1:30:47] slagged off Diaz as soon as they arrive.
[1:30:49] You've done us a favour. I see.
[1:30:50] One day I want it dead. And that's how he dies.
[1:30:52] So he's impaled through the the chin and into his brain.
[1:30:55] So that's a headshot, Missy. She puts up a fight, but then
[1:30:59] she's impaled through the eye and through the brain.
[1:31:01] So that's another headshot. And Jeremy gets his head stamped
[1:31:04] in after it's been caved in a couple of times and he's still
[1:31:07] alive. And the genius thing about, you
[1:31:09] know, the three steps ahead as he kicks the door three times
[1:31:11] and on the third time he stabs him in the leg.
[1:31:13] So he's just using the jiu jitsu against him, which is fantastic,
[1:31:16] but he gets his head caved in. Walter later on gets the flash
[1:31:20] goes off, he realizes who he is and then shoots himself in the
[1:31:22] head. And Georgina has a fractured
[1:31:24] skull through the car. Yeah, she gets ahead to all the
[1:31:27] family die through the brains, dying 1st and not the body.
[1:31:30] The only whose body dies is Rose, who's used a body to
[1:31:32] manipulate these people. And he leaves that down the side
[1:31:34] of the road as his mom did. And that is retribution for his
[1:31:37] mom's death. And therefore he escapes, which
[1:31:39] is fucking great. So the violence is not just
[1:31:40] violence for any reason. It also has a lot of subjects.
[1:31:43] Yeah, of course it. Does, and that's all I've got to
[1:31:45] say about that. Perfectly.
[1:31:47] One must be well done, succinct, articulus, learned, thoughtful.
[1:31:52] Powerful thank. You.
[1:31:55] Well, I want to talk about Rose eating cereal.
[1:31:57] Beautiful. Strap yourselves in, listeners.
[1:32:02] Here we go. Yeah, you knock them down.
[1:32:08] Well, I mean, she's oblivious to what's going on downstairs.
[1:32:11] Like you've you've just outlined there, Westie.
[1:32:13] She's got her headphones on. And that flip of Rose is
[1:32:16] incredible. She's a different person now.
[1:32:18] She's got her hair tied back. She's not the smiley girl from
[1:32:21] summer camp anymore. She's turned into a sadistic,
[1:32:23] racist killer machine. And this scene really highlights
[1:32:27] this. She's in her bedroom listening
[1:32:28] to I've had the time of My life. I mean.
[1:32:33] Looking for new victims? Loads of meaning behind this
[1:32:38] song. It's the whitest song in
[1:32:41] history. It's the whitest room in
[1:32:42] history. Yeah, but chillingly, she's just
[1:32:46] got no remorse from what she's done to Chris.
[1:32:49] She's at the time of our life and now she's searching for the
[1:32:51] next prey and she's separating the Fruit Loops from the milk
[1:32:55] because she doesn't want the colour to mix with the white of
[1:32:58] the milk. Super creepy, really effective.
[1:33:02] That is just, that is just an incredible image.
[1:33:05] Jordan Peele when he was writing that he must be thinking that is
[1:33:08] brilliant. Yeah, that is subtext.
[1:33:11] Bang, massive power. Oh, great.
[1:33:14] What about you, Matt? You're going to bring it up.
[1:33:16] Yeah, the ending is the only bit that I feel a little
[1:33:19] dissatisfaction with because I just feel it's a bit too rushed.
[1:33:24] It's one best thing as a debut director writer did.
[1:33:27] Peel does run out of time a little bit, either shooting days
[1:33:30] or in the edit. And I just feel if he had maybe
[1:33:33] a couple more days, I think he could have nailed the sequence
[1:33:35] perfectly because I just find the change in pace a little too
[1:33:38] jarring. What I will say is I think he
[1:33:42] absolutely 6 the final bit of the landing here because when
[1:33:45] Chris sees the sirens and he sees what he thinks is a cop car
[1:33:49] poaching in the cinema watching out, my heart just sank for him.
[1:33:54] And I thought, oh. OK, we'll go back to reality.
[1:33:57] Yeah, I know how this ends. I've seen out of the living
[1:33:59] dead. And you think this is going to
[1:34:02] be off the early scene with the cop And like, say America does
[1:34:05] have a problem with police violence against black people,
[1:34:08] specifically black men, and thinking, Chris, he's a black
[1:34:12] guy in the Deep South. He's got his hands around the
[1:34:14] neck of a dead white woman. There's more bodies behind him.
[1:34:17] The house is on fire, like he's not getting out of this.
[1:34:22] He's dead. So that relief when you realize
[1:34:25] it's a rod and it's OK. You just see airport on the
[1:34:28] door. It's fucking great.
[1:34:30] Yeah. But I don't know how Pale makes
[1:34:32] that ending work, because how many hours have you seen that
[1:34:34] have a bleak ending where the protagonist is killed or the bad
[1:34:37] guys win. And often when a horror film
[1:34:40] doesn't do that, you feel a bit cheated.
[1:34:42] You think, yes, that's copped out.
[1:34:44] This never feels like that. And I don't know how people
[1:34:47] makes work. He just ends on a really good
[1:34:49] joke because that pause but Rod leaves hanging before he goes.
[1:34:54] Yeah, You know, to go on that house perfectly judged and you
[1:35:01] don't feel cheated by any of this, it still feels so
[1:35:04] satisfying. And I don't know how Peel has
[1:35:06] made that swerve and made it work it.
[1:35:08] It's like, say it's a bit rushed to get to this point, but this
[1:35:11] point perfectly judged. Yeah, that is perfectly judged.
[1:35:15] But the character as well of Chris has been so smart
[1:35:17] throughout the whole film. He's been so in touch, so
[1:35:19] intelligent, and when he walks away from that room and it's all
[1:35:22] on fire, I'm like, that's all the evidence.
[1:35:24] Just put the fire out. Yeah, exactly.
[1:35:26] Yeah. Something like if that all goes
[1:35:30] into flames, you've got absolutely nothing.
[1:35:32] Have you both seen the fairpoint?
[1:35:33] The other ending. Yes, I haven't.
[1:35:35] Actually. Yeah, it's, it's, it's bleak,
[1:35:38] like. Right, it's very bleeding.
[1:35:39] Summer Kalu is best at him as well.
[1:35:41] It's when he actually gets arrested by two policemen.
[1:35:43] He's it's when he's in there and Rod goes in.
[1:35:46] He's he's told him on the phone and he's just, he just can't
[1:35:48] make eye contact with him. And he just asked if the dog's
[1:35:50] all right. He just kind of looks down and
[1:35:52] all he says is I've got them, I've got them, I'm going to be
[1:35:54] good and hangs the phone up and then goes in and you just think
[1:35:56] he's got a life sentence. That's it.
[1:35:57] He's done. Oh.
[1:35:58] Wow. Yeah.
[1:35:59] I thought it was going to be like, you know, poison the hood,
[1:36:02] blaze of glory coming out, No explanation whatsoever, not even
[1:36:06] an arrest. That's what I thought was going
[1:36:07] to happen, you know, to kind of to replicate that.
[1:36:10] But yeah, it's it's I'm, I'm so pleased that it ends the way it
[1:36:13] does. I think you've seen enough.
[1:36:15] Yeah, I agree. I think we've been through
[1:36:16] enough and in his shoes and you want to get him away because he
[1:36:19] is the audience, essentially. So Get Out ended like it
[1:36:22] absolutely should satisfy him for all involved.
[1:36:26] Rod to the rescue. Rod to the Rescue Reception and
[1:36:31] Awards. Get Out turned out to be a bit
[1:36:36] of a cultural juggernaut. Critics loved it.
[1:36:39] Time magazine said Peel succeeds where sometimes even more
[1:36:42] experienced film makers feel he'd made Agile and Tim, and
[1:36:46] whose social and cultural observations are so woven
[1:36:48] tightly into the fabric that you're laughing even as you're
[1:36:51] thinking, and vice versa. Yeah.
[1:36:53] Yeah. The time said in a double whammy
[1:36:55] of satire. Get Out Up ends all the expected
[1:36:58] tropes of the horror movie and gives middle class white
[1:37:00] liberals a thorough scuber. Good.
[1:37:03] And Satan Sound said thematically it's full on, yet
[1:37:06] the nuanced craft and narrative guile bring audiences along for
[1:37:09] the scares before they realize the radical adventure they've
[1:37:11] just experienced. Is it too early to call this a
[1:37:14] modern genre classic? They didn't answer the question
[1:37:17] they just posted. Some solid journalism there.
[1:37:23] Sight and sound, no message. I know, right?
[1:37:26] And now, six years on, Get Out has a Rotten Tomatoes rating of
[1:37:29] 98% and 7.7 out of 10 on IMDb. They'd.
[1:37:33] Have 100 on Rotten Tomatoes for like a year.
[1:37:36] Yes, yeah, until a negative review.
[1:37:39] Donald Trump sought. Probably.
[1:37:43] Make get out great again, Dick. It was huge at the box office.
[1:37:50] On a $4.5 million budget, it returned 225 million huge.
[1:37:57] Wow, what's Jordan Peele doing next?
[1:37:59] Anything he bloody well. Wants anything he wants.
[1:38:01] And in doing so, Peel became the first black director to surpass
[1:38:04] 100 million domestically with their debut feature.
[1:38:08] It also became the highest grossing debut film based on an
[1:38:11] original idea. It took that crown from The
[1:38:13] Blair Witch. Project.
[1:38:15] From 18 years prior, musician Chance the Rapper loved Get Out
[1:38:19] so much that he bought all the tickets at various movie
[1:38:21] theatres in predominantly black neighbourhoods in Chicago so
[1:38:24] that people could see Get Out for free.
[1:38:26] Amazingly, And it was a big player on the the award circuit
[1:38:30] with nominations and awards across the board.
[1:38:32] Most prominently, it was nominated for best picture,
[1:38:34] director and actor, and Jordan Peele won the best screenplay.
[1:38:38] Megan Peele, the first Black person in Oscar history to win
[1:38:40] that award. Big, big shit.
[1:38:42] This isn't it. Yeah, it's huge.
[1:38:44] It is. It's a big cultural phenomenon.
[1:38:47] Yeah, really is. There was a lot of controversy
[1:38:50] surrounding the awards at the time, with reports of certain
[1:38:53] Academy members dismissing Get Out as not Oscar worthy, most of
[1:38:56] which reportedly hadn't seen the film.
[1:38:59] One anonymous Academy voter was quoted by The Hollywood Reporter
[1:39:02] as saying, And I'm reading this verbatim, instead of focusing on
[1:39:06] the fact that this was an entertaining little horror movie
[1:39:08] that made quite a bit of money, they started trying to suggest
[1:39:11] it had deeper meaning than it does.
[1:39:13] And as far as I'm concerned, they played the race card.
[1:39:15] And that really turned me off. In fact, at one of the
[1:39:18] luncheons, Daniel Kaluya, who was not from the United States,
[1:39:22] was given us a lecture on racism in America and how Black lives
[1:39:25] matter. And I thought, what does this
[1:39:27] have to do with get out? Outrageous.
[1:39:34] I don't know how you can be so ignorant.
[1:39:35] I don't know how you can be so. That's crazy.
[1:39:37] I mean, he's just proved the point of why the film needs to
[1:39:41] be made. Exactly.
[1:39:43] Oh my God. So to count, I'm going to wrap
[1:39:47] up here with a quote from the non American Daniel Kaluya.
[1:39:50] He said quotes the film allows you to exhale.
[1:39:54] It makes you feel less crazy. That's what the film did for me.
[1:39:57] And if you carry in that tension or holding your breath, you
[1:39:59] understand that he's created a cinematic landscape for what
[1:40:03] happens when you're in those situations.
[1:40:05] People in my life say something, place They now have a word that
[1:40:08] describes everything that they've felt before and before
[1:40:11] the film. You know it, but you don't have
[1:40:12] the words for it. Yeah, exactly.
[1:40:14] He's an articulate guy, like, isn't he?
[1:40:17] Oh, he really is. Yeah.
[1:40:18] So as you can expect with such emotionally charged subject
[1:40:21] matter, Get Out created quite a stir.
[1:40:23] But it got the hat trick of success with audiences, awards
[1:40:26] and critics. Yeah.
[1:40:30] All the right movies ranking. We've reached the end of the
[1:40:34] show, but first we're going to hypnotize you with a classic of
[1:40:37] our own. It's the iconic ATRM rate,
[1:40:41] Wesley. Do you want to take it away?
[1:40:42] No. Pressure.
[1:40:44] I'll hypnotize you no problem. Big words.
[1:40:47] Yeah, huge, huge film. Yeah.
[1:40:50] Like you've just mentioned the incredible impact, incredible
[1:40:53] journey from, you know, Peel writing this just for himself.
[1:40:56] And I think he needed to write it as a more of a cathartic
[1:40:59] exercise of what he was feeling. And it's a very personal film
[1:41:02] and it's very personal experience.
[1:41:04] That's actually universal. And I think if a lot more people
[1:41:06] did that and wrote down exactly what they wanted to say and how
[1:41:09] they were, how they felt about a certain situation, would all
[1:41:12] realize that we're not as fucking mental as we think we
[1:41:14] are, you know, and that's all quite a universal message.
[1:41:16] And even as a middle-aged white Englishman, I still understand
[1:41:20] the pain that he must be going through and how awful and how
[1:41:24] uncomfortable and how, you know, cliched it must be to go to like
[1:41:27] even that party sequence is just excruciating.
[1:41:31] And it helps us understand that. And I think that's what people
[1:41:34] should take from the film. And because of that, it's
[1:41:36] incredibly important. So it obviously puts it on the
[1:41:38] on the higher end of the score. And but from a content point of
[1:41:41] view, from an entertainment point of view, from the film
[1:41:43] point of view, it does have a couple of things that kind of
[1:41:45] pull me out a little bit. One of them being the camera
[1:41:47] flash, which again, could have been a little bit more clever.
[1:41:51] And the person at the end, like Matt said, it just kind of fast
[1:41:55] forwards itself a little bit too much and depends on this over
[1:41:59] the top violence that I think he was going to cut together as
[1:42:01] this incredibly paced like bang, bang, bang, bang, bang.
[1:42:03] And it doesn't sit that way. It does feel quite slow.
[1:42:07] And it does feel like there was things that were missing there
[1:42:09] that could have been a little bit more fleshed out.
[1:42:11] He could have rang for the police as she was in the car.
[1:42:14] You know, they don't need to say grandma.
[1:42:15] She doesn't need to say grandpa, get them ground put on all this
[1:42:18] kind of stuff. It's laid on quite thick at the
[1:42:19] end where it's really covered at the start.
[1:42:21] So I think it kind of loses forget that because of that.
[1:42:24] And that kind of pulls out a little bit, but that it doesn't
[1:42:27] lose a lot from that. But for them little points as an
[1:42:29] overall movie, I'm going to give it an 8.5 out of 10. 8.5 OK, big
[1:42:34] score Matt, what about you? It's.
[1:42:36] Been a favorite of mine for the last 6-7 years or so.
[1:42:39] It's want to go back to Regli because like we've said, it just
[1:42:41] pays off re watches so well. And I was really keen for it to
[1:42:46] get the full classic treatment. And I'm so glad to do it because
[1:42:48] it's been so good to hear your takes on it to see like how
[1:42:52] opinions have changed and like to really pull it apart and see
[1:42:55] what's going on underneath my you guys have seen in it.
[1:42:58] I think, you know, speaks testament to what is actually in
[1:43:00] the film. I think it's a hell of a calling
[1:43:02] card from Jordan Peele. And the strength of the film
[1:43:04] isn't the fact that it's just this one simple idea, but he
[1:43:07] gets so much like creative juice out of that idea Lord and takes
[1:43:11] a familiar setup, like I said right at the beginning, really
[1:43:14] familiar setup in a fresh direction.
[1:43:17] Like that quote you read out. Luke is so important in the film
[1:43:20] because if this film has made you feel uncomfortable or you've
[1:43:25] tried to dismiss it, it's just been a message movie or
[1:43:27] something. Well, it's supposed to make you
[1:43:29] feel uncomfortable. Yeah, exactly.
[1:43:30] It's done its job, Yeah. It's done its job and it does
[1:43:32] its job really well. So yeah, Jordan Peele a thing is
[1:43:35] work is excellent, superb performances from everyone.
[1:43:39] And so for in terms of Scott, it just comes down to really fine
[1:43:42] margins with me and I'll still stick with seeing the end.
[1:43:46] And there's a little rushed in comparison to the rest of it.
[1:43:48] Wesley's made some really good points about little bits of the
[1:43:51] plot that don't add up, so they are the only issues I have with
[1:43:54] it. So for me it's a 9.5. 9.5 Very
[1:43:59] nice. Well for me it's a real modern
[1:44:02] classic I think and with a lot of important things to say
[1:44:05] obviously, but it balances the social commentary with some
[1:44:08] truly chilling moments and stand out comedy bits as well.
[1:44:11] Yes, introduces movie audiences to Jordan Peele who's now names.
[1:44:15] Comes with a huge sense of expectation and spectacle.
[1:44:18] I think all of the performances are top notch, particularly
[1:44:21] Daniel Kaluya, and I've got such a soft spot for Little Royal
[1:44:23] Howery. You, you 2 have made some good
[1:44:29] points. And I do take those points about
[1:44:31] the ending, about The Flash, which I hadn't really thought
[1:44:34] about that, to be honest, that hasn't really had an impact on
[1:44:37] me. But it hasn't quite gone down as
[1:44:38] one of my favorite films since the turn of the century.
[1:44:41] So for that reason, I can't give it top marks.
[1:44:44] So I'm going to give Get Out a big 9 out of 10, yeah.
[1:44:47] OK, lovely. Our 4th and final score for Get
[1:44:51] outcomes from our Twitter faithful.
[1:44:54] This will be interesting, won't it?
[1:44:55] Oh yes, it is. Yeah.
[1:44:57] We've asked people to give their written out of 10 and we've got
[1:44:59] a big response, real big response.
[1:45:01] I can imagine we did. Before I reveal the score, I've
[1:45:04] picked out a few pearls of wisdom from the Twitterverse.
[1:45:06] Fantastic. OK, here it comes.
[1:45:09] Tim at Unintimidating said get out his pace perfectly with a
[1:45:14] brilliantly executed final reveal.
[1:45:17] It's an original idea and looks great.
[1:45:19] Can't disagree with Tim. Good stuff, Tim, good stuff.
[1:45:21] Score. OK always love those ones they
[1:45:27] are my. Favorite.
[1:45:28] I love it. Yeah.
[1:45:31] To me, no. At.
[1:45:32] To me, no. Said it.
[1:45:34] An imaginative allegory about racism.
[1:45:36] Not without problems, especially the last act, but it kept me
[1:45:39] guessing. A lot of the comments did have
[1:45:42] problems with the last act, that it felt as if they didn't follow
[1:45:45] through. Yeah.
[1:45:45] Yeah. Finally featuring Ving Rhames as
[1:45:48] Stimpy at Mike. Under score C under score, Sharp
[1:45:52] said simply 10. Movie fucking rules man.
[1:46:01] Why do we spend 2 hours talking about film?
[1:46:03] We could just. Say that you know we could.
[1:46:04] Do. Featuring big Rams as Stimpy has
[1:46:06] nailed it immediately, yeah. Two-minute podcast.
[1:46:11] It certainly wasn't without its detractors on Twitter, with a
[1:46:14] lot of people giving it a negative review, the worst of
[1:46:17] which was probably this one. This is from John Reston the
[1:46:21] second at John under score. Reston under score 2.
[1:46:25] Who said get Out was pure walkest effluvium?
[1:46:29] Why aren't 0 or one options on the pole?
[1:46:32] The movie sucked ball sacks. Unusual juxtaposition of
[1:46:36] language there from Reston the Second.
[1:46:37] Is that all he's got to say? That's all he's got to say.
[1:46:39] Really. He doesn't elaborate.
[1:46:41] It suck ball sacks. A pure walk effluvium.
[1:46:44] Walk effluvium. So he's just word of the day
[1:46:46] toilet paper. He's just found out what
[1:46:47] effluvium means, went on Twitter, wrote two things, and
[1:46:52] then went back to his normal language of ball sacks getting
[1:46:54] sucked and then just went zero. You know what?
[1:46:57] I did what I'd give that zero. Just seems to me the film
[1:47:03] touched a nerve, that's all. I'll.
[1:47:04] Say yeah, yeah, yeah, potentially, yeah.
[1:47:07] And that was a pattern. People asking why our Paul only
[1:47:09] gives like 10987 as options. A lot of people said where's 2?
[1:47:13] Where's 0? Unfortunately, Twitter only
[1:47:15] allows four options for a poll. So we're not going to put 4321
[1:47:21] as options. Are we cover those kind of
[1:47:23] films, you know, give give it a fair few years.
[1:47:25] We might do, you know, master the universe and like that.
[1:47:31] So after all the comments and Vorton, what do you think?
[1:47:33] Get out averaged on Twitter, fellas.
[1:47:37] Well, it will have its detractors.
[1:47:38] Strongly, I think. Yeah, I would say it as well.
[1:47:44] It bang on the money you've got. To raise the tension there.
[1:47:50] Yes, absolutely. Yeah, There was a lot of tune
[1:47:53] and fro and a lot of positives, a lot of negative, a lot of
[1:47:55] negatives. Yeah.
[1:47:56] So when I was in the Twitter scores combined that leads get
[1:47:59] out with a score of 35 out of 40.
[1:48:02] It's good. Still a big score worthy for me
[1:48:04] as well, yeah. Yeah, definitely, yeah.
[1:48:07] You can go to alltherightmovies.com/leaderboard
[1:48:09] to see where Get Out stands next to the other films that were
[1:48:12] covered so far on the podcast. Yep, as mentioned, you can sign
[1:48:15] up to be in All the Right Movies period, supported by visiting
[1:48:18] patreon.com/all the Right Movies.
[1:48:20] You get access to all of those podcasts that we mentioned at
[1:48:23] the top, have a say in what films that we cover on Double
[1:48:25] Feature, and ask us questions for our shows as well, and we'd
[1:48:29] be very happy if you did. Yes, yes, over the moon.
[1:48:31] Yeah, please do. Would be wonderful.
[1:48:34] Join us again in all the right movies in two weeks, milkshakes
[1:48:37] at the ready, as John, Matt and Westie dive head first into
[1:48:39] PTA's There Will Be blood. Looking to fall to that one
[1:48:43] fellas. It's just.
[1:48:47] Going to be that for two hours. Yeah, fantastic.
[1:48:51] Yeah, it should be a good one. It should.
[1:48:53] Our most recent Patreon exclusive podcast is On The Fog
[1:48:57] and Escape from New York, a lively discussion that we had
[1:48:59] there made for one hell of a shore.
[1:49:01] It was good, I enjoyed that one. Strong opinions.
[1:49:04] I enjoyed hard a bit half of it. But to find out what half?
[1:49:08] Which? Half sign up and the next
[1:49:11] episode of double feature will be with you soon.
[1:49:14] Next Friday, it'll be exact 26th of May bound to have two great
[1:49:17] films that we're talking about there for sure yeah.
[1:49:19] So if you haven't already, sign up to be an ATR M patron to
[1:49:22] listen to that and all the other episodes and you can get access
[1:49:26] to those immediately. Yep.
[1:49:28] And in between all of that, you can check out our daily content
[1:49:30] across all social media. On Twitter, we are at AT right
[1:49:33] movies Instagram, we are at all the under score right movies for
[1:49:37] our Facebook group. Search all the right movies on
[1:49:39] TikTok Search at all the right movies.
[1:49:41] Subscribe to our YouTube channel and like our videos because they
[1:49:44] are pretty bloody amazing. And our website, the ATRM hub
[1:49:48] with loads of great features, is all the right movies.com.
[1:49:51] Yeah, sure is. We've got loads of stuff.
[1:49:54] Loads and loads and that is it. Consider this situation handled.
[1:49:58] We're off to put our applications in for the TSA.
[1:50:01] We'll see you soon, everyone. See you soon everyone, thanks
[1:50:03] for listening. Thank you tuning in.
[1:50:26] I mean, I told you not to. Go in that house.

Shows are listed from Apple Podcasts' charts and directory, and Podcast Index where it is used. Every show and episode belongs to its publisher and plays from the publisher's own feed; this site hosts none of them.