"Get Out " and "Logan"

Jordan Peele's horror film about racial hypocrisy and the latest spin on Hugh Jackman as Wolverine.

Daniel Kaluuya y Allison Williams en el primer largometraje dirigido por Jordan Peele. Ilustración de Richie Pope updetails.com
Daniel Kaluuya and Allison Williams in the first feature film directed by Jordan Peele. Richie Pope illustration
The hero of "Get Out" is a young photographer named Chris (Daniel Kaluuya). He is charming, thoughtful, and a little on the quiet side. His girlfriend is Rose (Allison Williams), and they are going to spend a weekend at their family's home in the country. His parents still have not met Chris, and he's nervous, partly because he's black and Rose is white. "Do you know I'm black?" He asks. "No," she replied, adding, "Should they?" "I do not want to be caged on the lawn with a shotgun," he says. Like.

Fortunately, Chris's fear is unfounded. The welcome he receives from Rose's father, a neurosurgeon named Dean (Bradley Whitford), and his mother, Missy (Catherine Keener), a psychiatrist, can not be more effusive. In any case, it's very warm, with Dean wrapping Chris in a hug on the porch, addressing him as "my man", and running to claim - as Rose had predicted - that, given the opportunity, he would have voted for Barack Obama A third time. What we have here, in other words, is the spectacle, at once touching and comical, of good liberals who fall on themselves to prove their moral credentials. With pride, Dean shows the ethnically varied objects he has collected on his travels, explaining: "It is a privilege to be able to experience another person's culture."

The only whim of this affable disposition is the hired help: a land man named Walter (Marcus Henderson) and the housekeeper, Georgina (Betty Gabriel), whose beatific expression is stuck in its place. Both are African American; They worked for Dean's father and they stayed. Georgina looks at the mirrors, as if something in her features is wrong, and, as far as Walter, runs out of the night, directly to Chris, for no reason. Dinner is a loaded affair, thanks to the attendance of Rose's brother, Jeremy (Caleb Landry Jones), a raggedy hot butt, and stranger is Missy's offer later that night, to hypnotize Chris-supposedly to cure him Of an annoying smoking habit, though she feels herself falling through the darkness, under her spell, in what she refers to as "the sunken place."

What is that place? And what kind of movie is this? "Get Out" is the first feature film written and directed by Jordan Peele, famous for "MadTV" and "Key & Peele." It's a hell of a jump, shedding almost every trace of the outline format, and pressing forward with the story's Drastas. There is a lot that makes you shudder, especially once a gang of friends and family appear in the house the next day, each of them, when he introduces himself to Chris, trying to say the right thing and make a mistake. A veteran golf pro says, "I know Tiger." A flirt inspects his muscles, looks at Crotchward, and asks Rose, "Is it true?" There's another black guest, but when Chris punches him, he politely shook his fist.

All this sounds like an exciting social farce, and so it is. There are wider, more clipped laughs, too, courtesy of Lil Rel Howery, who plays Rod, Chris's best friend and dog keeper, back in town. But listen to the menacing strokes of Michael Abels' score; To wait for those moments, scattered by all the action, when the winces accelerate in jolts and jumps; And consider how much is packed in the fabulous title of Peele. "Get Out": you could say to an invading bichoñuelo, a discarded lover, an insolent guest, or a man who has to leave, at this time, in order to save his skin. Some skins, they soon realize, need to save more urgently than others.

If you were forced to fit "Get Out" into a slot, you'd have to describe it as a horror movie. That is the way it is being marketed, and the plot begins to flow with blood in the last quarter, since virtually everything, including the antlers of a deer, is pressed as a murder tool. For fans of the genre, however, that kind of wild chaos will be nothing new. What will surprise, irritate and possibly divide them is the fact that race - no gender, no country, no class, no race - explains every inch of violence we see. White in black, black in white, there is no room: it's the deal, and it's even more alarming because Chris, at first, is so willing to deflect any hint of ethnic tension (it's a wonderfully calibrated performance by Kaluuya, who is British), and because whites, alike, are civil souls, rather than rednecks, who would have an overly obvious goal. In a delightful detail, Missy's hypnotic help is not a wobbly wristwatch But the clink of a teaspoon in a porcelain cup. Appearances are there to be preserved, until the moment they break.

Can a film be too inflammatory for its own good, or are there times, and places, when only the fire will suffice? In an interview with The Times, Peele, whose mother is white, admitted that the film was originally intended to "fight the lie that the United States had become post-racial," and the result is like a full-blown attack on a bow iris. Unless we hear "Ebony and Ivory" about the final credits, "Get Out" could hardly be more provocative. There is a scene with a head shot, a scene with an exposed brain and a creepy scene with a bowl of Froot Loops. And yet, despite all that, what makes this horror movie horrendous is the response it gives to the well-meaning and troublesome question "Can not we learn to live together?" To which the film responds, loud and clear, "No."

Such a sport, Hugh Jackman: tied up, smiling and patently decent, with a head deflated by the foolishness of being a star. He is never more into his element than when he shouts the big numbers of "Oklahoma" or "Carousel" onstage, and there is no doubt that if he had been born fifty or sixty years earlier, he would have given Howard Keel a Run for his money As the Rodgers and Hammerstein shows bounced off the screen. Instead, what has been Jackman's fate for the last seventeen years? To sprout the knuckles of your knuckles, replace grunts with smiles, and cultivate a density of facial hair that may well qualify as horticulture. In short, he has been busy playing Logan, a mutant better known as Wolverine, and if he has cameos, his new movie, "Logan," represents the ninth time Jackman has taken over the role. These days, Logan walks with limp and drinks directly from the bottle. His beard has turned gray and, in a sad new development, he has to buy reading glasses. If there ever was a time to hang their claws, that moment is now.

The year is 2029. Little has changed, except that zipping trucks along freeways seem to be lumps without a driver. It is said that no new mutant, of the kind that the "X-Men" franchise has taught us to delight, has been born for twenty-five years. However, here is the exception: a girl named Laura (Dafne Keen), who was engendered by an illegal bioengineering program in a Mexican laboratory, you know, the usual. His gift, or his defining curse, is similar to Wolverine's. After escaping, she is alone, until Logan and his grumpy mentor, Charles Xavier (Patrick Stewart), who despite the age difference - Laura is eleven years old and is ninety years old - give the newcomer a brightness. The trio is set off across the country, causing North Dakota and the Canadian border, on a quest-ridiculed by Logan-to find a place called Eden, where other superpowered children are rumored to gather. It took me a while to figure out what this road trip reminded me of, but I got to the end. It's little Miss Mutant Sunshine!

Like Millie Bobby Brown, in "Strange Things", Dafne Keen seems so frequented and frequent, her reticence mingled with a fierce look; There are also echoes of the young Lukas Haas, in "Witness" (1985). But his character, on waking to revenge, becomes even wilder than Logan, and one has to wonder how easy it is for Keen's parents to see his daughter dive into grown men, tear her flesh with killer legs, and Case, cut a head. "Logan" is ranked R, and the director, James Mangold, fights stage after bout of frantic barbarism. At one point, Charles and Laura sit in a hotel room, engrossed in a "Shane" demonstration on TV. Clearly, Mangold wants to establish a parallel: Jackman, like Alan Ladd, is defending justice and protecting a child. But watch the final shoot-out in the older movie, as Shane enters the brown rich saloon shadows; Look at Jack Palance, carefully pulling the coffeepot away to see it cleaner; Watch the dog, wisely skulking out before the kill begins. These quiet images are marked in the mind, and the shots come as an overwhelming release, while when Logan and Laura unleash their furious scythes nothing feels satisfied. The world is advancing, unsuccessfully tired and savage.

This article appears in other versions of the edition of March 6, 2017, with the title "Scary Places".
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