GET OUT -- New horror film about black man meeting white gf's parents. Looks creepy.

ksteezy said:
Nah man....my man Chris handled his, once dude turned on his killer instinct it was a ***** wrap for those Trumpettes....they took on all types of Ls.
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???

Peele has been very open about the fact that it's actually liberal racism that he's putting on blast.
 
^The movie highlights the racism of white liberals.... how they appear to be pro minorities on the surface but just carry out their racist ways differently than the conservative racists.

That was a pretty early takeaway from the movie IMO.

Dont see how thats not an honest observation. Though of course i can understand the criticism from white liberals... all of them arent like that so I could see the push back. But that doesn't change the fact that its still true that a portion of them get down like that.
 
ksteezy said:
Well Kong which could have been a blockbuster, turned out to be a dud....I got faith it'll get a nod.
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It wasn't supposed to be a blockbuster. It made more than it was projected to make. They thought it was only going to make around $45. Plus it was released in March.
 
Nominated sure. But who cares about second place. Also when's the last time a film of this genre won best film/director/actor?
 
krazy88s said:
 
Nominated sure. But who cares about second place. Also when's the last time a film of this genre won best film/director/actor?
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[h1]  [/h1]
[h1]The Oscar Grouch: 10 Horror Movies That Scored at the Oscars[/h1]
This week, we’re going to take a break from the 2016 Oscar race, and since it’s October, what better time to talk about Oscar’s infrequent flirtation with horror films. The reason that horror has never resonated all that strongly with the Academy is related to the reasons why broad comedy or action blockbusters don’t resonate with the Academy: it’s a matter of taste. While there are constantly exceptions, the rule remains that prestige dramas are where it’s at, and genres that seem designed more to make money than win awards are more often than not left out of the club.

What’s always interested me, however, are the exceptions. Every once in a while, the Academy will show some love to a horror movie. Some more effusively than others. What is it about these movies that gets them in the door?

Of course, we should point out the difference between a horror movie being nominated in the top categories and a horror movie getting so-called “tech” honors. A handful of below-the-line Oscar categories have been particularly friendly to horror over the years, in particular Best Makeup, Best Visual Effects, and Best Original Score. You know how sometimes if you’re really scared by a movie, concentrating on how it’s just props and actors will help you calm down? It’s like if the Academy breaks down horror movies into their component parts — makeup, effects, music, fake blood, fake ghosts — they won’t be so objectionable.

Certain horror movies managed to break through that Oscar glass ceiling over the years, in one category or another. Among the movies that saw the most success in major categories (Best Picture, Best Director, acting), some similarities began to arise. In brief, if you want to be a horror movie and get Oscar attention:
  • Be Directed By Someone Who’s Already In The Club: Alfred Hitchcock (Psycho), William Friedkin (The Exorcist), Francis Ford Coppola (Bram Stoker’s Dracula), and Martin Scorsese (Cape Fear) were already Oscar faves by the time they showed up with their horror entries. And directors like Roman Polanski (Rosemary’s Baby) and Darren Aronofsky (Black Swan) were art-film successes previous to going horror.
  • Be Based On A Novel: Oscar loves a literary adaptation, even if the literature that’s being adapted is full or gruesome murders. Best Picture nominees The Silence of the Lambs, The Exorcist, and Jaws (as well as Rosemary’s Baby  and of course Bram Stoker’s Dracula) were all adapted from novels. And Black Swan  was based on Swan Lake, which is really just a work of great literature in ballet form.
  • Feature Undeniably Great Performances: The Silence of the Lambs, The Sixth Sense, Black Swan, Whatever Happened to Baby Jane  … all movies that got Oscar nominations on the backs of their actors’ performances.
  • Give Us a Monster That Haunts Our Dreams: The Visual Effects and Makeup categories have always been a place for Oscar voters to recognize great horror, even if they’re too embarrassed to show love in the top categories. Nominations are voted on within each branch of the Academy, and craft recognizes craft. Which is why movies like The Flyand An American Werewolf in London  win Best Makeup, and the Alienand Poltergeist franchises show up in Visual Effects. And if you’re not going to scare us with visuals, a bone-chilling piece of music will do, like when Jerry Goldsmith’s terrifying score for The Omen  won a statue.
1

[h3]'Psycho' (1960)[/h3]
Oscar nominations: 
Best Director, Alfred Hitchcock
Best Supporting Actress, Janet Leigh
Best Cinematography
Best Art Direction

Psycho was the last of Hitchcock’s five Best Director nominations, and the most openly horrific of those five. Hitchcock having already been an established Oscar-nominated director probably helped a lot when it came to getting Psycho  the attention it got, but there is no mistaking that the movie — and in particular that shower scene that so shocked American audiences — was one of the most influential horror movies of all time.

One bit of outrage, though: NO nomination for Best Editing? After the masterful never-see-a-stab shot in the shower? Shameful, Academy. Shameful.

2

[h3]'What Ever Happened to Baby Jane' (1962)[/h3]
Oscar nominations:
Best Actress, Bette Davis
Best Actor, Victor Buono
Best Cinematography
Best Costume Design (WON)
Best Sound

Bette Davis’ last Oscar nomination came a decade after her second-last, and it was for the ultimate in campy horror. She played opposite Joan Crawford, her nemesis on- and (reportedly) off-screen, and she got allllll the good lines.

[h3]'Rosemary's Baby' (1968)[/h3]
Oscar nominations:
Best Supporting Actress, Ruth Gordon (WON)
Best Adapted Screenplay

Ruth Gordon’s win for playing Mia Farrow’s meddlesome, Satanic neighbor remains one of the most satisfying Oscar wins in memory, and a great testament to letting horror films in the door. Though, honestly in what universe does Rosemary’s Baby  not nab Polanski a Best Director nomination?

4

[h3]'The Exorcist' (1973)[/h3]
Oscar nominations: 
Best Picture
Best Director, William Friedkin
Best Actress, Ellen Burstyn
Best Supporting Actress, Linda Blair
Best Supporting Actor, Jason Miller
Best Adapted Screenplay (WON)
Best Cinematography
Best Editing
Best Art Direction
Best Sound (WON)

Friedkin was following up his Best Picture/Best Director wins for The French Connection  two years prior, and between that and the fact that The Exorcist  was adapted from an incredibly popular novel by William Peter Blatty (who won an Oscar for adapting his work for the screen) helped sneak it past the Oscar gatekeepers.

5

[h3]'Jaws' (1975)[/h3]
Oscar nominations: 
Best Picture
Best Editing (WON)
Best Original Score (WON)
Best Sound (WON)

Steven Spielberg was famously so certain that he was going to get a Best Director nomination that he had a film crew on hand recording the announcement. Alas, it was not to be. You kind of can’t blame him, though. A Best Picture nomination generally comes with Best Director. Jaws(and later Jurassic Park, which won three Oscars for sound, sound effects, and visual effects) is about as horror as Spielberg gets, but when he gets the right monster, he can produce something terrifying.

[h3]'Aliens' (1986)[/h3]
Oscar nominations: 
Best Actress, Sigourney Weaver
Best Editing
Best Art Direction
Best Original Score
Best Sound
Best Sound Effects Editing (WON)
Best Visual Effects (WON)

Sigourney Weaver’s Best Actress nomination for an action-horror sequel remains one of the most impressive and elusive Oscar feats. The original Alien  got nominated for Art Direction and won for Visual Effects, but James Cameron’s sequel ended up with a whopping seven nominations, just one behind that year’s top-nominated movies (Platoon  and A Room with a View).

7

[h3]'The Silence of the Lambs' (1991)[/h3]
Oscar nominations: 
Best Picture (WON)
Best Director, Jonathan Demme (WON)
Best Actor, Anthony Hopkins (WON)
Best Actress, Jodie Foster (WON)
Best Adapted Screenplay (WON)
Best Editing
Best Sound

Easily the biggest horror success at the Oscars ever. Not only did The Silence of the Lambs  win Best Picture, but it swept the top four awards in a way no film since One Flew Over the ****oo’s Nest  had done. Demme hadn’t been much of an Oscars director before this, so this was no Hitchcock/Friedkin style reception. Silence  managed to muscle its way to the podium thanks to over a year’s worth of word-of-mouth enthusiasm about its artful gore and top-notch performances.

8

[h3]'Bram Stoker's Dracula' (1992)[/h3]
Oscar nominations: 
Best Art Direction
Best Costume Design (WON)
Best Makeup (WON)
Best Sound Effects Editing (WON)

Francis Ford Coppola is one of the Academy’s favorite filmmakers, so when he decided to branch out into horror, they were onboard. It helps that in his hands, Dracula  become a sumptuous, colorful, artistic, bloody feast for the senses, even as the performances are … well, let’s say uneven. Crazy that Wojciech Kilar’s score didn’t get nominated, though.

9

[h3]'The Sixth Sense' (1999)[/h3]
Oscar nominations: 
Best Picture
Best Director, M. Night Shyamalan
Best Supporting Actor, Haley Joel Osment
Best Supporting Actress, Toni Collette
Best Original Screenplay
Best Editing

The summer of 1999 gave us one horror phenomenon that was never going to be Oscar’s cup of tea (The Blair Witch Project), followed by one horror phenomenon that totally worked for them. That The Sixth Sense  was more of a ghost story and character study than all-out horror probably helped. As did the phenomenon that surrounded M. Night Shyamalan’s big breakthrough.

10

[h3]'Black Swan' (2010)[/h3]
Oscar nominations:
Best Picture
Best Director, Darren Aronofsky
Best Actress, Natalie Portman (WON)
Best Cinematography
Best Editing

That Black Swan  doesn’t always seem  like a horror film likely has a lot to do with why the Academy accepted it, but it is most definitely horror, with his long, creepy corridors and Hitchcockian double-identity plot and gruesome body transformations. Psychological horror at its most stylish. Portman probably wouldn’t have won Best Actress if she were a Final Girl running for her life, sure, but she gives a performance that is definitely rooted in horror.
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eh, few and very far between. Get Out was good. Not  that  good but we'll see if anything better releases
 
While Oscar noms is good for "recognition" and what not, who cares if it gets nominated?
Movie is great on its own merit, dont need no vapid validation from them
 
Saw it with my lady last night. I was pretty much speechless at the end of the film. It worked on so many different levels. Jordan Peele is brilliant.  This was the best horror film I've seen since The Sixth Sense.
 
My mom and little sis should be in the movie theater right  now watching this. Wish I could be there to see how they react to everything,but I'm at work. Can't wait to have an after movie discussion with them.
 
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I think it can. Of course it depends on the rest of the year.

They can nominate ten pictures now.

The only issue is will the talk about this movie be there at the end of the year like it is now.
 
Y'all putting any deeper meaning into the fact that the only other race that was at the slave auction was an Asian dude?
 
I'm a fan of Umar Johnson's lectures all that, but his review of this movie was god awful.
 
sole searchin said:
Y'all putting any deeper meaning into the fact that the only other race that was at the slave auction was an Asian dude?
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they are the model minority who doesn't control the way things work but they will never upset the status quo because they have a position of acceptance by their Anglo Saxon counterparts.
 
sole searchin said:
Y'all putting any deeper meaning into the fact that the only other race that was at the slave auction was an Asian dude?
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It's been known forever that a lot of them buy into that BS.


Like I said it's gems all over this movie. View media item 2372926



tay1 said:
I'm a fan of Umar Johnson's lectures all that, but his review of this movie was god awful.
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Umar been real over the top lately. :lol:
 
I gave up on Umar man. Dude lost me a while ago. He says some good stuff, but messes it up with petty behavior.
 
He's acting real feminine with his emotional outbursts. Shows all that male black leadership **** is for show. Be careful who you listen to.
 
sharpshooter718 said:
they are the model minority who doesn't control the way things work but they will never upset the status quo because they have a position of acceptance by their Anglo Saxon counterparts.
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Sure. I suppose so but placing them into a role of being at the slace aunction just kind of irks me. I get it, Asian Americans have a hard history on the states as well (railroads, camps, etc) and were able to get out of the struggle and now be seen as a "model minority" but part of that is racism and prejudice as well.

"Smart, nerds, unathletic, domicile, nonconfrontational, etc" are how society/Hollywood portray them, but in reality it's quite different, especially for the darker skin Asian Americans. Besides it's mostly the African Americans and the Whites perpetuating these stereotypes.
 
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