I'd be interested in learning a bit more about the science in the film, although there's probably not much more written for it.
If they leave a sliver of the black person in the body does that mean a sliver of the white person gets left behind in the old body? Is there a net gain in brain mass or is it zero sum? Does the black person lose all their memories? Making them nothing more than a tortured soul? How much longer could a brain really live in a brand new body before the brain itself becomes too old to live? If this experiment were attempted in some way in real life, perhaps say combining two halves of a brain or different pieces of brain, would the resulting mind merge to be a new person or would there be distinct separations?
Also, the doctor throws two things away in the trash, when he first starts cutting the scalp he throws something away and I assume it was the piece he was cutting. However, later we are show again that he actually didn't finish cutting it and THEN he throws away the scalp. So what was the first thing? I didn't see it clearly.
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MayabirdPecking at the keyboardRegistered Userregular
IIRC, the first piece was the scalp. The second piece was the top of the skull. The exposed brain was clearly shown there.
I know a lot of people do not believe in transracialism at all, but would you consider the people with the new brains to be "black" or "white"?
The theme of the movie falls apart if you consider it to be anything other than a white person having taken control of a black body. The person themselves would probably consider themselves a white person in a black body as well - the distinction would be important to them.
Until they leave the safety bubble of their wealth and power, they are still tourists to the black experience. And by leave, I mean completely cut ties so there is no going back. Part of being anything in this world is living it 100% of the time with no parachute.
They liked the film, and they liked that it was subtler about racism than an old Star Trek episode (which they keep bringing up as analogy), but they thought it was too long (disagree) and they completely miss the fact that choosing black people because of supposed admiration is still racism.
It doesn't seem different from how racist sports fans can "admire" black athletes while still being extremely racist because the black athletes can just be seen like race horses or well crafted robots.
To me I don't think admiration explains why the white people chose blacks.
IMO, what they believe is this: Blacks are cheap and no one cares if you kill 'em; Black lives DON'T matter.
That makes them the perfect vessel. To do the same procedure to a white person would be barbaric in their eyes.
I wonder what this film would be like if the races were reversed.
Admiration is the reason that RLM gave in their review. As I've stated before, one can have positive feelings about a minority and still discriminate against them. They can totally admire blacks and still think of them as lesser.
Reeling from Ben Carson's incredible comments today, I realized that everything he's said and done makes perfect sense if you consider him to be a product of a real-life Get Out scenario.
It really was amazing that Chris kills his enemies by:
-The brother (part 1): Smashing him in the head with a bocce ball. How white is bocce ball? Well, I picked up from Assassin's Creed 3 that it seems that the sport was well known and popular with plantation holders.
-The dad: Stabbing him with a redneck hunting trophy.
-The mom: Stabbing the hypnotist in the eye was more about destroying her weapon than any racist commentary I could pick up on.
-The brother (part 2): Defeated through fighting several moves ahead, something that it was racistly assumed Chris wouldn't have the talent for.
-The grandma: Killed in a car crash she caused through blind hate (natch).
-The girlfriend: Defeated by black people working together. Specifically, by someone pretending to be who they were not. And she fell for it!
Question to those who have seen the film in Europe: how specific is its satire/critique to the US? It sounds like the kind of film that gains considerably from a fairly specific context.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Reeling from Ben Carson's incredible comments today, I realized that everything he's said and done makes perfect sense if you consider him to be a product of a real-life Get Out scenario.
It would explain why he always talks so slow and sleepy. Doesn't help that he's also a brain surgeon...
Question to those who have seen the film in Europe: how specific is its satire/critique to the US? It sounds like the kind of film that gains considerably from a fairly specific context.
Don't think it's out anywhere in Europe yet, but from what I see and hear, I do think that audiences here generally will lack a lot of cultural context to get all of it.
Question to those who have seen the film in Europe: how specific is its satire/critique to the US? It sounds like the kind of film that gains considerably from a fairly specific context.
Don't think it's out anywhere in Europe yet, but from what I see and hear, I do think that audiences here generally will lack a lot of cultural context to get all of it.
As an American it's weird to think that the way racial politics works here isn't universal. It's such a huge, omnipresent phenomenon here that constantly dominates national discourse.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
Question to those who have seen the film in Europe: how specific is its satire/critique to the US? It sounds like the kind of film that gains considerably from a fairly specific context.
Don't think it's out anywhere in Europe yet, but from what I see and hear, I do think that audiences here generally will lack a lot of cultural context to get all of it.
As an American it's weird to think that the way racial politics works here isn't universal. It's such a huge, omnipresent phenomenon here that constantly dominates national discourse.
It's a thing over there, too, but it plays out in a different way.
To a European, I'd imagine this movie will look like what a movie about (for example) Poles in England or North Africans in France would here. The general story will probably still work, but a lot of subtle signals will be missed.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
The more interesting thing about the dad kill was how much he ranted against deer and bucks earlier in the film.
I kept trying to piece together a throughline about the deer in the film . . .
The innocent doe was killed, and though it was an accident, it was due to something unnatural invading its habitat and imposing an unnatural dynamic. It was unexpected, and lamented by all, but it was a statistical surety: you impose arbitrary norms on a system, there will be consequences for anything not equipped to combat those norms.
You meet Rose's father, and he has a visceral off-the-cuff reaction to hearing about the deer. It's the only unscripted bit of interaction we get from the Armitage family until the secret is out. He hates them, hates being near them, and even repurposes an old, very racist joke about every dead deer being a "good start." Yet this is a guy who built his sprawling country estate in the middle of the woods where proximity to deer is a certainty; he's intruded into their space and demanded their eradication.
And still, he prizes certain aspects of deer, especially stags. The mounted buck's head on the wall is a fine specimen, showing that Mr. Armitage has a certain appreciation for genetically-superior iterations of the animal, but only as something to be controlled and displayed and (if called for) claimed violently. He's proud of his dominance over the deer, and proud of himself for culling such a magnificent trophy.
Chris, then, is that trophy. A fantastic intellect, able body, and creative mind mark him as an outlier among all humankind, and there's no better way for Armitage to announce his dominance over Black folks than to take such a specimen and force him to become someone else. And there's no better poetic resolution than for Chris to use that defeated trophy against the man who would subdue him.
Saw this last night, and it was as great as I was lead to believe. I'd heard to go in as cold as possible, but I went in knowing the general gist (knowing the estate was some kind of black person trap, but not about the brain swaps) and was happier for it. Knowing a fair amount about the plot allowed me to appreciate the different levels on which the film was working - as a horror movie, as am extended metaphor for race relations, and as a subversion of horror tropes.
I checked out Rotten Tomatoes and was like, "Damn, only one negative review!" And then I hunted it down and was like, "Oh, it's Armond White, shoulda guessed."
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
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Giggles_FunsworthBlight on DiscourseBay Area SprawlRegistered Userregular
It's funny to me that most of the "pacing" complaints I've seen about this movie are people saying it went too slowly. I actually think it zipped by a little too quickly. The sense that "something's not right here" started immediately as soon as Chris got to the house. The mom did creepy hypnosis on him on night one! I would have actually liked a little more atmosphere building, more sense of slowly creeping dread.
That's a minor nitpick though, overall this movie was thoroughly excellent.
I missed this in theaters, saw it on Amazon last night.
Holy shit this movie is amazing. I actually had to go back and re-watch parts of it, to see about things I missed.
The super awkward "party" of course was really a slave auction, basically. The entire purpose was to show off Chris to potential customers:
The old guy who used to be a pro golfer, even after Chris revealed he wasn't really a golf player, the old guy was like "Show me your form." He wasn't just being weird, he really wanted to see if Chris had the form for golf, because he literally wanted to be inside his body.
The awkward interaction with the couple, with a younger, model-type woman and a much older man in a wheelchair. She asked a few super awkward sexual questions, grabbed Chris' bicep, and looked back to the man like "What do you think of him?" and the man gave a face like "Oh he's sexy as hell." At the time I thought the dude was just being weird as fuck, but really -- he literally wanted to have Chris' body.
It took me a while to understand exactly what was going on -- At first I thought the victims were under an extreme form of mind control, where somehow the controller could literally see and hear and directly control the victims body remotely. It wasn't until the "Get 'em, grandpa" comment came out that I understood that oh no, they get their consciousness directly transferred somehow into a new body.
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If they leave a sliver of the black person in the body does that mean a sliver of the white person gets left behind in the old body? Is there a net gain in brain mass or is it zero sum? Does the black person lose all their memories? Making them nothing more than a tortured soul? How much longer could a brain really live in a brand new body before the brain itself becomes too old to live? If this experiment were attempted in some way in real life, perhaps say combining two halves of a brain or different pieces of brain, would the resulting mind merge to be a new person or would there be distinct separations?
Also, the doctor throws two things away in the trash, when he first starts cutting the scalp he throws something away and I assume it was the piece he was cutting. However, later we are show again that he actually didn't finish cutting it and THEN he throws away the scalp. So what was the first thing? I didn't see it clearly.
The theme of the movie falls apart if you consider it to be anything other than a white person having taken control of a black body. The person themselves would probably consider themselves a white person in a black body as well - the distinction would be important to them.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
They liked the film, and they liked that it was subtler about racism than an old Star Trek episode (which they keep bringing up as analogy), but they thought it was too long (disagree) and they completely miss the fact that choosing black people because of supposed admiration is still racism.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
IMO, what they believe is this: Blacks are cheap and no one cares if you kill 'em; Black lives DON'T matter.
That makes them the perfect vessel. To do the same procedure to a white person would be barbaric in their eyes.
I wonder what this film would be like if the races were reversed.
Admiration is the reason that RLM gave in their review. As I've stated before, one can have positive feelings about a minority and still discriminate against them. They can totally admire blacks and still think of them as lesser.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
-The brother (part 1): Smashing him in the head with a bocce ball. How white is bocce ball? Well, I picked up from Assassin's Creed 3 that it seems that the sport was well known and popular with plantation holders.
-The dad: Stabbing him with a redneck hunting trophy.
-The mom: Stabbing the hypnotist in the eye was more about destroying her weapon than any racist commentary I could pick up on.
-The brother (part 2): Defeated through fighting several moves ahead, something that it was racistly assumed Chris wouldn't have the talent for.
-The grandma: Killed in a car crash she caused through blind hate (natch).
-The girlfriend: Defeated by black people working together. Specifically, by someone pretending to be who they were not. And she fell for it!
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
It would explain why he always talks so slow and sleepy. Doesn't help that he's also a brain surgeon...
Don't think it's out anywhere in Europe yet, but from what I see and hear, I do think that audiences here generally will lack a lot of cultural context to get all of it.
As an American it's weird to think that the way racial politics works here isn't universal. It's such a huge, omnipresent phenomenon here that constantly dominates national discourse.
even after that, I had hoped that her parents had just wiped her memories away each time
but nope
noooope
It's a thing over there, too, but it plays out in a different way.
To a European, I'd imagine this movie will look like what a movie about (for example) Poles in England or North Africans in France would here. The general story will probably still work, but a lot of subtle signals will be missed.
I kept trying to piece together a throughline about the deer in the film . . .
The innocent doe was killed, and though it was an accident, it was due to something unnatural invading its habitat and imposing an unnatural dynamic. It was unexpected, and lamented by all, but it was a statistical surety: you impose arbitrary norms on a system, there will be consequences for anything not equipped to combat those norms.
You meet Rose's father, and he has a visceral off-the-cuff reaction to hearing about the deer. It's the only unscripted bit of interaction we get from the Armitage family until the secret is out. He hates them, hates being near them, and even repurposes an old, very racist joke about every dead deer being a "good start." Yet this is a guy who built his sprawling country estate in the middle of the woods where proximity to deer is a certainty; he's intruded into their space and demanded their eradication.
And still, he prizes certain aspects of deer, especially stags. The mounted buck's head on the wall is a fine specimen, showing that Mr. Armitage has a certain appreciation for genetically-superior iterations of the animal, but only as something to be controlled and displayed and (if called for) claimed violently. He's proud of his dominance over the deer, and proud of himself for culling such a magnificent trophy.
Chris, then, is that trophy. A fantastic intellect, able body, and creative mind mark him as an outlier among all humankind, and there's no better way for Armitage to announce his dominance over Black folks than to take such a specimen and force him to become someone else. And there's no better poetic resolution than for Chris to use that defeated trophy against the man who would subdue him.
I checked out Rotten Tomatoes and was like, "Damn, only one negative review!" And then I hunted it down and was like, "Oh, it's Armond White, shoulda guessed."
She kept the color separate from the white.
And she was sitting in front of a wall of trophy bucks.
Allison Williams looks a lot like Catherine Keener, IMHO.
Bradley Whitford was doing a perfect Richard Dreyfuss from like 10-15 years ago
The creepy brother reminded me a lot of early Brad Pitt
-Indiana Solo, runner of blades
Yeah that guy was total 12 Monkeys Pitt
He was able to lower his head down next to his hands. It's cleverly shown by how he bends down to inspect the cotton coming out of the chair.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
That's a minor nitpick though, overall this movie was thoroughly excellent.
Holy shit this movie is amazing. I actually had to go back and re-watch parts of it, to see about things I missed.
The super awkward "party" of course was really a slave auction, basically. The entire purpose was to show off Chris to potential customers:
The old guy who used to be a pro golfer, even after Chris revealed he wasn't really a golf player, the old guy was like "Show me your form." He wasn't just being weird, he really wanted to see if Chris had the form for golf, because he literally wanted to be inside his body.
The awkward interaction with the couple, with a younger, model-type woman and a much older man in a wheelchair. She asked a few super awkward sexual questions, grabbed Chris' bicep, and looked back to the man like "What do you think of him?" and the man gave a face like "Oh he's sexy as hell." At the time I thought the dude was just being weird as fuck, but really -- he literally wanted to have Chris' body.
It took me a while to understand exactly what was going on -- At first I thought the victims were under an extreme form of mind control, where somehow the controller could literally see and hear and directly control the victims body remotely. It wasn't until the "Get 'em, grandpa" comment came out that I understood that oh no, they get their consciousness directly transferred somehow into a new body.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar