Funnyman Jordan Peele isn’t the first name you think of when you think of horror, but his new movie, “Get Out,” might change that. The “Key & Peele” star has dropped the satire that made his name in favour of scares.
College students Rose and Chris, played by Allison Williams and Daniel Kaluuya, have reached the point in their relationship when it’s getting serious and it’s time for him to meet her parents.
“Do they know I’m black?” he asks. “It seems like something you might want to mention. I don’t want to get chased off the lawn with a shotgun.”
She assures him race is a nonissue—“My dad would’ve voted for Obama third time if he could have,” she says. “They are not racist.”—as they head to her leafy up-state hometown to meet parents hypnotherapist Missy and neurosurgeon Dean (Catherine Keener and Bradley Whitford). After a few days Chris feels uneasy. A police officer demands to see his driver’s license even though he wasn’t driving the car and Dean is friendly, but strange. “How long has this been going on,” dad asks, “this thang.”
The atmosphere of apprehension builds during a garden party thrown on Missy and Dean’s estate. “It’s like they’ve never met a black person who didn’t work for them,” Chris says. Guests make inappropriate remarks and the only other African American attendee (Lakeith Stanfield) is standoffish until a flash bulb triggers a seizure. “Get out!” he screams over and over, attacking Chris. Unnerved Chris wants to leave, but finds himself trapped, wondering if his hosts are racist and deadly or just racist.
Back in the city Chris’ best friend, TSA agent Rod (LilRel Howery), is worried about his friend. After a google search or three Rod becomes convinced Chris has been kidnapped and his being used as a suburban sex slave.
“Get Out” is the weirdest and most original mainstream psychodrama to come along since “The Babadook.” The basic premise harkens back to the Sidney Poitier’s classic Guess Who’s Coming to Dinner. In that film parents, played by Spencer Tracy and Katharine Hepburn, have their attitudes challenged when their daughter introduces them to her African American fiancé. The uncomfortable situation of meeting in-laws for the first time is universal. It’s the added layers of paranoia and skewered white liberalism that propels Chris’ situation into full-fledged horror. In this setting Chris is the other, the stranger and as his anxiety grows the social commentary regarding attitudes about race in America grows sharper and more focussed.
The first hour is a slow burn, a gradual build to the weird behaviour that comes in the final third. Peele skilfully shapes the story, carefully adding layers of horror and humour (mostly courtesy of Howery) that grows to a bloody climax. The subtlety of the first hour is abandoned near the end when the movie shifts tone from a sinister Kubrickian feel to something more akin to an 80s slasher flick.
Kaluuya is the film’s beating heart. Williams, Keener and Whitford, who somehow make their mundane WASPy behaviour creepy as a facebook message from your high school gym teacher, ably back Kaluuya. Add to that Walter Marcus Henderson and Betty Gabriel as the otherworldly, possibly lobotomized handyman and housekeeper and you have the elements of a memorable night at the movies.
“Get Out” is a horror film—there are all manner of shocks and jumps—but like all great genre films it isn’t just that. It could more rightly be called a social thriller, a film that looks at everyday ills—in this case racial tension—through the lens of a genre movie.
Almost twenty years after dressing up Brad Pitt as an undead marionette, “Interview with a Vampire” director Neil Jordan is back at it with “Byzantium,” a gothic tale of secrets and blood sucking.
Based on a play by Moira Buffini, “Byzantium” gives a new spin to the Dracula mythology. Clara (Gemma Arterton) and Eleanor (Saoirse Ronan) are two-hundred-year-old vampire mother and daughter trying to survive in modern day England. Setting up shop in a British seaside town, Clara goes into business as a Madame, turning the dilapidated Byzantium Hotel into a brothel, while Eleanor, frozen in time at age sixteen, befriends a local hemophiliac boy named Frank (Caleb Landry Jones). Their lifestyle choices—prostitution, sanguinary pursuits and general melancholy—soon bring unwanted attention from the townsfolk and an ancient brotherhood.
Like “Interview with a Vampire,” this movie centers around an account of the past. Eleanor, a melancholy child tired of the burden of her family secret, pens a story outlining the lurid origins of their immortality. “It’s like Edgar Alen Poe and Mary Shelley had a very strange child,” says her teacher. As the story passes hands, the movie flits back-and-forth between modern day and 1804, slowly unfolding the bloody tale.
Atmospheric and gothic, “Byzantium” is a vampire tale that will leave “True Blood” fans wanting more. With no fangs—these succubae pierce their victims with pointed thumbnails before draining them dry—coffins or capes—although Clara does wear a bustier emblazoned with he word SUCK—in sight, these vamps are unlike anything we’ve seen before.
The revisionist horror history is engaging enough, but seems a little lifeless, even for a movie about vampires. Lacking any real dramatic tension, it meanders through time—past and present—failing to work up any real momentum. It’s slow and contemplative in Eleanor’s scenes, more rapid fire in Clara’s, who is a bit more enthusiastic about the wet work.
All in all “Byzantium” is an elegant, if slightly dull film, that tries to bring something new to the “Twilightized” vampire genre, but staked by flawed storytelling.
Brandon Cronenberg is a new filmmaker with a famous last name. While he may have taken the celebrated Cronenberg family fascination with body horror to a genetic level in “Antiviral,” he also proves himself to be an exciting new voice in dark cinema.
“Antiviral” is the story of Syd March (Caleb Landry Jones), a technician at Lucas Clinic, a lab that sells celebrity diseases to obsessed fans. For a price devotees of Hannah Geist (Sarah Gadon) and others can become infected with actual cells from their idols. Herpes, skin flaps, the flu. You name it. Syd also supplies an underground market by smuggling copyrighted viruses out of the clinic in his own body. Soon, however, his bug bootlegging catches up with him when he ingests a deadly disease.
“Antiviral” works both as speculative fiction and satire.
Cronenberg creates a strange world that looks much like ours, but exists only in his imagination… for now. It’s a fame-obsessed world where celebrity operations are top news stories and people know the intimate details of their favorite star’s lives. It’s taken to extremes, but just to the other side of extreme. “Celebrities are not people,” the movie tells us, “they are mass hallucinations.” Tellingly we’re never told why the movie’s celebrities are famous, we’re just meant to accept that they are; that the hallucination of fame is enough. Rings true today. Just ask Kim Kardashian.
Satire blends with horror to create some of the film’s lasting images. There’s a butcher shop that literally feeds the public’s need to consume their favorite stars. The Sweeney Todd-esque butcher even has a celebrity cell garden where he grows “celebrity cell steaks.” Imagine a New and Improved Soylent Green with 50% More Celebrity! There are some grotesque images blended into these sequences, but the most horrifying is its plausibility; that this reflects our increasingly rabid celebrity culture, just tilted 180 degrees.
There is a cold, clinical feel to “Antiviral,” that recalls Cronenberg senior. It is, I guess, Brandon’s birthright, but it occasionally obscures the more humorous aspects of the story—celebrity ringworm for your dog, anyone?
“Antiviral” is strange speculative fiction, but it proves one thing—the apple doesn’t fall far form the tree, in either subject matter or filmmaking talent.
Funnyman Jordan Peele isn’t the first name you think of when you think of horror, but his new movie, “Get Out,” might change that. The “Key & Peele” star has dropped the satire that made his name in favour of scares.
