Post by troliusmaximus on Apr 22, 2017 12:52:22 GMT
A decent thriller flick... except for two, lazy, amateurish scenes which detracted from the final product (...as is customary nowadays):
1. He sees the photos of her with all those other [black] guys that she's dated; and yet, still proceeds as normal.
• surely that would have clued him in (as it clearly did ― given his facial expressions and mannerisms from that scene forth) on her being part of the subterfuge
• him not literally making for the 'fire escape', tight there and then ― instead, putting himself in the veritable lions den ― is utterly incongruous and out-of-character for the guy, given the exigence he was displaying in wanting to glee the place
2. The camera phone flash: are we really meant to believe she (i) did not see it and / or (ii) was oblivious to its potential effects ― even after the events earlier, with that other fellow?
• not seeing it―in the dark―standing right behind her grandfather's 'lobotomy surrogate'―is a suspension of disbelief bridge too far, in and of itself
• handing zombie Uncle Tom the gun for the coup de grâce immediately thereafter, was utterly immersion-destroying
(• said 'vessel' then topping himself, made no sense either and was clearly done to tie up said loose end before the final scene)
What is it with film-makers that they let this kind of sophomorish crap slip through into the final cuts of there films? I can understand it occurring in films that are unashamed schlock from go to woe; but, Get Out seemed to be taking some pride in itself up until these points. I watched Logan (2017) the other day ― another example of a decent premise, cast etc., ruined by a couple of instance of Vaudeville scripting or / and direction (...coincidentally enough, also a scene relating to a phone camera). It's almost like directors get bored at certain points in the production (usually around the third act) and just say "To hell with it!" and slap some crap together and bundle the thing out of the door.
I recall reading about how Elijah Wood had to return to New Zealand, three years after he'd finished his last scenes for The Lord of the Rings ― because Peter Jackson wasn't happy with a few scenes and wanted to re-shoot. What happened to this kind of dedication to meticulousness...?
1. He sees the photos of her with all those other [black] guys that she's dated; and yet, still proceeds as normal.
• surely that would have clued him in (as it clearly did ― given his facial expressions and mannerisms from that scene forth) on her being part of the subterfuge
• him not literally making for the 'fire escape', tight there and then ― instead, putting himself in the veritable lions den ― is utterly incongruous and out-of-character for the guy, given the exigence he was displaying in wanting to glee the place
2. The camera phone flash: are we really meant to believe she (i) did not see it and / or (ii) was oblivious to its potential effects ― even after the events earlier, with that other fellow?
• not seeing it―in the dark―standing right behind her grandfather's 'lobotomy surrogate'―is a suspension of disbelief bridge too far, in and of itself
• handing zombie Uncle Tom the gun for the coup de grâce immediately thereafter, was utterly immersion-destroying
(• said 'vessel' then topping himself, made no sense either and was clearly done to tie up said loose end before the final scene)
What is it with film-makers that they let this kind of sophomorish crap slip through into the final cuts of there films? I can understand it occurring in films that are unashamed schlock from go to woe; but, Get Out seemed to be taking some pride in itself up until these points. I watched Logan (2017) the other day ― another example of a decent premise, cast etc., ruined by a couple of instance of Vaudeville scripting or / and direction (...coincidentally enough, also a scene relating to a phone camera). It's almost like directors get bored at certain points in the production (usually around the third act) and just say "To hell with it!" and slap some crap together and bundle the thing out of the door.
I recall reading about how Elijah Wood had to return to New Zealand, three years after he'd finished his last scenes for The Lord of the Rings ― because Peter Jackson wasn't happy with a few scenes and wanted to re-shoot. What happened to this kind of dedication to meticulousness...?