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.
Catfight: after losing touch in college former friends – a struggling artist and a trophy wife – become bitter rivals, and find their lives changing dramatically at the hands of each other. This is an interesting film in that it’s the type of movie that doesn’t really get made anymore. It feels like something from the early 2000s: quirky and eccentric “Woody Allen style” New York caricatures coming together in a semi-absurd plot that could have come from someone like Todd Solondz or Larry David. It’s also refreshing in that you don’t often get to see female actors in this age bracket lead a movie. Both Sandra Oh and Anne Heche get to chance to showcase their fine acting chops – playing irritating characters, but making the most of the comedy in the script through their respective stereotypes. The film’s performances complement Tukel’s unique directorial voice and style, although his ability to craft and capture so many deadpan scenes, wry cameos, and absurd lines is what shines the brightest – this absolutely smashed through the six-laugh test. Where the movie fell down for me was that it took a lot of swipes in the background at American culture, the U.S. government, foreign wars, inequality, topical Television shows, etc… This felt like easy – even lazy – targets for a film with this much promise and talent, and distracted from the central rivalry. The three prolonged ‘slobber-knocker’ fights also push the film momentarily from comedy & satire into a cartoonish farce: the hits are too big, with ‘wooshing’ & ‘crunching’ sound effects that become ridiculous, and the sequences feel much longer than they needed to be – although the film is called Catfight…. Catfight feels genuinely refreshing – coming through in an time where the majority of movies feel more like ‘safe investments’ designed by committee, that actively avoid taking any risks. This feels unique, original, fresh, and although it doesn’t land every punch, it’s is more than funny enough to remain entertaining for the duration.