Get Out -- A Movie Review, Part 2

Note: This is Part 2 of the movie review for Get Out. Yesterday's Part 1 is here.

Photo: from the movie's Wikipedia page. This is what white people like me, whatever that means, thought racists were when I saw this movie in 1988. Turns out, it's a lot more complicated than that. By the way, this movie has more relevance now than it should, so see it if you haven't. And don't expect factual accuracy. It's a depiction, a cinematic dramatization in broad strokes. It's not a documentary.

Yet Get Out says that the awareness of the...nervousness, or political-correctness, or even the awareness of the awareness of a biracial couple...is in fact part of the problem. Which of course it is. Maybe someday we'll live in a country where a biracial couple simply doesn't raise any eyebrows, anywhere, in any kind of person, pro or con, friend or foe. That isn't going to happen soon, since we've taken two steps back in this country, but we'll see.

But you can see maybe why this was such a ballsy movie to make. Especially today. Now, cynics that we usually are, we'd expect this movie to maybe--or maybe not--do okay its first weekend, maybe for interest or shock value, and then disappear once blockbusters like Kong and Logan are released at the same time. 

But I'm happy, and a little surprised, to say that it hasn't happened. It's hanging in there, in third place, right with those films. It's grossed over $100 million--on a budget barely over $4 million. Considering that, it's so far been more of a financial hit than Kong: Skull Island or Logan. That's saying something.

And it should be. It is (uncomfortably) funny--but it won't be for those who don't think biracial couples, or the reaction they can elicit from others, is funny. Frankly, if you're racist, you're not going to like this film. But I suspect racists know that, and are staying far away. I've seen shockingly scant mention of it from them in the news and on the internet, but then I'm not an internet crawler. Also, it's a good horror flick, once you get by the horror premise, which you're not really supposed to take seriously to begin with. There is actual unease and tension and suspense. Strangely so, for me, and it wasn't scary, exactly, for me, like other horror films have been. Like, The Exorcist, or The Silence of the Lambs.

So it's a ballsy film, and it's a good film, and it's doing really well, which means it's hit a nerve somewhere, and found a niche. You can expect to see more films like this now, perhaps not as good.

I will leave you with some positive reviews of the movie, which are written more succinctly than this one. They're all taken from the movie's Wikipedia page, which you can click on here.

Richard Roeper gave the film 3.5/4 stars, saying, "[T]he real star of the film is writer-director Jordan Peele, who has created a work that addresses the myriad levels of racism, pays homage to some great horror films, carves out its own creative path, has a distinctive visual style — and is flat-out funny as well." Keith Phipps of Uproxx praised the cast and Peele's direction, noting: "That he brings the technical skill of a practiced horror master is more of a surprise. The final thrill of Get Out — beyond the slow-building sense of danger, the unsettling atmosphere, and the twisty revelation of what’s really going on — is that Peele’s just getting started." Mike Rougeau of IGN gave the film 9/10, and wrote: Get Out's whole journey, through every tense conversation, A-plus punchline and shocking act of violence, feels totally earned. And the conclusion is worth each uncomfortable chuckle and moment of doubt." Peter Travers of Rolling Stone rated Get Out a 3.5/4, and called it: "[A] jolt-a-minute horrorshow laced with racial tension and stinging satirical wit." Scott Mendelson of Forbes praised how the film captures the current zeitgeist called it a "modern American horror classic".

So if this sounds good, or if you like horror/comedies, go see it.

Get Out -- A Movie Review

Photo: from the movie's Wikipedia website


Get Out was a ballsy movie to make, considering our present climes. It's a horror movie with a good horror movie ending, but this is no horror movie. It's also a comedy with a message about racism that doesn't hit you over the head, or preach at you. This makes it even more effective. This movie tries to do for racism what Rosemary's Baby and Stepford Wives did for sexism, and it largely succeeds because Jordan Peele, Get Out's producer/director, was aware of those two movies. There's a bit of Kubrick's (and not King's) The Shining in there at the end, too, but luckily that guy doesn't end up like Scatman Crothers did.

I saw this with my better half, and we're both white. (I'm as boring, suburban white as Wonder Bread, but not as fluffy or as wholesome.) We sat next to a bi-racial couple, one white and one black, which is pretty rare for my suburban-hell neck of the woods. (See the movie juxtaposition I made there?) Normally this would not be relevant, but, unfortunately, for this review, and for this movie, it is. Just a sign o' the times.

A quick review of the movie: After a quick prologue of a young black man getting kidnapped, another young black man (the main character) and his pretty white girlfriend are off to a rural home to introduce him to her family. She hasn't told them he's black, by the way, which you know is not going to turn out well.

So the racial theme comes and it's played for laughs. This is ingenious, and if you think Peele is only playing it for laughs, then you don't know what kind of serious cultural change laughs can do. Like, All in the Family and Richard Pryor changed some views in the 70s and 80s. The point works because it's played funny. And in the funny, we feel the tension and disquiet, and realize it's not funny. This is a good movie for a collegiate class about film, comedy and horror. I'm going to let the following critic of The Guardian tell it, because I'm just fumbling here:

Lanre Bakare of The Guardian commented on this, saying, "The villains here aren't southern rednecks or neo-Nazi skinheads, or the so-called 'alt-right'. They're middle-class white liberals. The kind of people who read this website. The kind of people who shop at Trader Joe's, donate to the ACLU and would have voted for Obama a third time if they could. Good people. Nice people. Your parents, probably. The thing Get Out does so well – and the thing that will rankle with some viewers – is to show how, however unintentionally, these same people can make life so hard and uncomfortable for black people. It exposes a liberal ignorance and hubris that has been allowed to fester. It's an attitude, an arrogance which in the film leads to a horrific final solution, but in reality leads to a complacency that is just as dangerous."

In other words, the target audience was, in some ways, people like me, who like to think they're racially aware, and who like to think they're helping the cause, in whatever way they can. Now, I'm not liberal like this passage, thank God, but I do donate to the ACLU and I would've voted for Obama again. I don't shop at Trader Joe's. (In fact, I don't do the food shopping at all, because I'd buy just cereal, bananas, apples, blueberries, and green olives.) But it's also true that I don't know how to relate to someone who's a victim of racism. For example, I realized in my last movie review that I didn't even see why Joseph Conrad's Heart of Darkness was racist itself (an irony, since it effectively shows how racism is a [see title]) until I read Chinua Achebe's speech about it. (Achebe was kinda right, kinda not, but more right than not. And, by the way, who am I to speak about racism?)

This is the point of the movie, which is hidden in trappings of comedy and horror. I can speak of racism only in the sense that I've seen it; I've written and spoken against it; I don't know what the hell it's all about; I don't know why so many people deny it exists; I don't get why people don't understand why African-Americans and other minorities are angry; I don't get why Samuel L. Jackson says Daniel Kaluuya, the main actor, isn't "black enough," and I don't get why I don't get that, because I get what such people think it means; and I also realize that I don't know enough about it to criticize Samuel L. Jackson, which I also realize isn't a smart thing to do to begin with, about anything at all, because he's scary. I used to think that racists only lived in the South, in a Mississippi Burning kind of way, but now I see that it's everywhere, including in the recent court decision about how Texas unconstitutionally re-districted itself to disillusion minority voters; about how voting ID laws in many states--including those as far north as PA and North Carolina--were purposely passed by Republicans to make it harder for the poor (reads: Democrat) to vote. I see that racism exists, or used to, in zoning laws, for God's sake, around here.

And in truth, Get Out is probably a more realistic depiction of racism than Mississippi Burning ever was. Maybe. Who am I to say?

This movie review of Get Out concludes tomorrow...

Innocent Men Set Free After 30 Years

Photo: from the AP article mentioned below: "In an an Aug. 12, 2014 photo, Henry McCollum sits on death row at Central Prison in Raleigh, N.C. He and his half brother Leon Brown have spent more than three decades in prison for the rape and murder of 11-year-old Sabrina Buie in 1983."

I credited the caption from the article, but what I really wanted to write was:

For every overturned case due to newly-found DNA evidence that highlights a murder conviction based solely on bias--Doesn't this photo really say it all?

For the full report, read this article at this link.  Most of this entry is copied and pasted from this article, which states the facts much better than I could have.  Below the line is where I step in.

LUMBERTON, N.C. (AP) — A North Carolina judge overturned the convictions Tuesday of two men who have served 30 years in prison for the rape and murder of an 11-year-old girl after another man's DNA was recently discovered on evidence in the case.

Superior Court Judge Douglass Sasser ordered the immediate release of Henry McCollum, 50, and Leon Brown, 46. The half brothers were convicted in the 1983 slaying of Sabrina Buie in Robeson County.

Lawyers for the men petitioned for their release after DNA evidence from a cigarette butt recovered at the crime scene pointed to another man. That man, who lived close to the soybean field where the dead girl's body was found, is already serving a life sentence for a similar rape and murder that happened less than a month later.

Sasser ruled after a day-long evidence hearing during which Sharon Stellato, the associate director North Carolina Innocence Inquiry Commission, testified about three interviews she had over the summer with the 74-year-old inmate now suspected of killing Buie. The Associated Press does not generally disclose the names of criminal suspects unless they are charged.

According to Stellato, the inmate said at first he didn't know Buie. But in later interviews, the man said the girl would come to his house and buy cigarettes for him, Stellato said.

The man also told them he saw the girl the night she went missing and gave her a coat and hat because it was raining, Stellato said. He told the commission that's why his DNA may have been at the scene.

Stellato also said the man repeatedly told her McCollum and Brown are innocent.

Still, he denied involvement in the killing, Stellato said. He told the commission that the girl was alive when she left his house and that he didn't see her again. He told the commission that he didn't leave the house because it was raining and he had to work the next day.

Stellato said weather records show it didn't rain the night Buie went missing or the next day.

Authorities said McCollum, who was 19 at the time, and Brown, who was 15, confessed to killing Buie.

Attorneys said both men have low IQs and their confessions were coerced after hours of questioning. There is no physical evidence connecting them to the crime.

Both were initially given death sentences, which were overturned. At a second trial, McCollum was again sent to death row, where he remains, while Brown was convicted of rape and sentenced to life.

The DNA from the cigarette butts doesn't match either of them, and fingerprints taken from a beer can at the scene aren't theirs either. The other man now suspected in Buie's killing was convicted of assaulting three other women over 30 years before his last conviction.

Lawyers for the two men said the new testing leaves no doubt about their clients' innocence.
Ken Rose, a senior staff attorney at the Center for Death Penalty Litigation in Durham, has represented Henry McCollum for 20 years.

"It's terrifying that our justice system allowed two intellectually disabled children to go to prison for a crime they had nothing to do with, and then to suffer there for 30 years," Rose said. "Henry watched dozens of people be hauled away for execution. He would become so distraught he had to be put in isolation. It's impossible to put into words what these men have been through and how much they have lost."

_________

I have nothing but outrage to add to this, a pity since outrage doesn't come across well in a blog.  So I'll just reiterate one point: 

"There is no physical evidence connecting them to the crime."

However, despite this, "...[b]oth were initially given death sentences, which were overturned. At a second trial, McCollum was again sent to death row, where he remains..."

How do you give someone the death penalty--TWICE--for a conviction not based on any physical evidence at all, ever?  How does a mentally deficient man get the death penalty based on a confession he couldn't possibly have given willingly, in a case in which there's zero physical evidence against him?  And this wasn't in the bigoted first half of the 20th Century.  This was in 1983--just 31 years ago.

How many times do you think a black man with a very low IQ has been given the death penalty based solely on a "confession" and zero physical evidence?

Why doesn't somebody of national relevance order a review of every single case in which a black and /or mentally deficient (because of an extremely low IQ) man has been incarcerated due to convictions based on a "confession" and zero physical evidence?