GET OUT [Spoilers]: when a girl takes her new boyfriend home to meet her family, he gets way more than he bargained for. As a white metropolitan elite male, and part of the liberal media (a blog counts, right?) the moments of sleight racism, underhand stereotypes, and low-key comments about ‘form’, ‘structure’, ‘genetics’, etc were the hardest bits to watch. The strongest aspect about this film is that it skillfully uses the ‘language’ of horror cinema (jumps, isolation, string score) to emphasize the uneasy and odd parts of the plot. Even white people talking normally about Tiger Woods, Jessie Owens, and Obama sounds creepier through the ‘horror’ lens. The final 10 minutes see a major tone shift into exploitation & schlocky B-movie cheese, with some crowd pleasing gore – although it does feel like it’s been heaped on for good measure – a highlight being a ‘reverse American History X headstomp’ homage. There’s a few other missteps like the ‘gentrified’ help coming over more “robotic” than ‘transplanted’, and the TSA agent friend is purely in there for some cheap comic relief. The best thing about Get Out is that everything mentioned in the first half fits together perfectly for the reveal and finale; however, the flip side of that is that there’s no subtlety, and you get pushed down a particular path, which the film sticks religiously to; which feels too straightforward in a time where you expect more from top-drawer horror.
Maniac (Remake – 2012): the deranged and murderous owner of a mannequin shop crosses paths with an artist who understands his appreciation for the figures. Not for the faint hearted, this is packed with violence and gore; in all of the graphic scenes you keep thinking ‘they’ll cut away from it now… Now… NOW?!?!’. These gut-wrenching effects are paired with a deranged and explicit sound design, which makes this very unnerving and creepy to watch. Elijah Wood is sufficiently creepy-looking and charming – although he doesn’t get the same chance to push his range as this version is mostly shot from his point of view (POV). Because of the POV shooting, brutal sound effects and explicit gore you feel more like a participant than an observer, which works disturbingly well in the voyeuristic and chase sequences. The original Maniac is great, and still holds up today, but times have changed and this one ups the ante in every aspect, becoming more shocking by comparison, whilst retaining a certain retro ‘video nasty’ / ‘classic exploitation‘ vibe (aided by plenty homages and similarities to the original, and an exquisite post-Drive 1980s synth soundtrack.) On a scale of ‘one to creepy’ this is CREEPY AS FUCK and – like the original – although this is 100% unrecommendable, the Maniac remake is an exploitation and slasher masterpiece.
Savages (mild spoilers): when two pro pot dealers have their shared girlfriend kidnapped by a cartel for leverage, they don’t take it lying down. This one is absolutely packed to the brim with torture, violence, action sex, drugs and rock & roll – it’s all turned up way past 11. All the characters are all pretty broad stereotypes, however it’s the cast and story that raise this above your standard gang-banger flick. Hell, it’s worth watching this just to see the scene with Del Toro and Travolta – each doing their thing and loving every second of it. For a 2hr30 film, it’s so packed with action and plot that it never drags: as it plays out like a dramatic chess match. Savages barely puts a foot wrong until it doubles back on what would have been a powerful, Shakespearian out-of-the-blue ending – instead copping out at the last second for a crowd-pleaser. The only real downer for me was a sloppy, grating, “ike-OMG-totally-I-was-like-and-she-was-all” So-Cal voiceover that does nothing more than point out the obvious – and annoy the shit out of viewers. After a couple of duffers, this one definitely puts Oliver Stone back on the cinemap, and with ample style to spare.