“Get Out” is the most talked about movie this year. Arguably in years. Most people are praising the film for its gutsy satirical tone and astute political observation. While some have made controversial statements like Sameul L. Jackson questioning the casting of the film’s star Daniel Kaluuya because he is British and not African American. Point is people are talking and talking a lot about “Get Out.” Sure we are only three months into 2017 but when was the last time a movie stirred this much conversation and this much debate? And all the talk has driven up the film’s staggering numbers at the Box Office.
It’s an especially impressive feat for a first time director, Jordan Peele, who cast relative unknown Daniel Kaluuya (“Sicario”) in the leading role and has done the nearly impossible.
Produced for only a modest $4.5 million the film has already earned more than $133 million globally and counting. Cha-Ching! The box office milestone is also a record for horror film outpost Blumhouse, with “Get Out” now the studio’s fastest film to reach $100 million
“Get Out” will go down in history as one of the most profitable movies ever. More importantly “Get Out” will be regarded as a classic. Not just a horror classic but one of the great films of all time.
This should make “Get Out” and early contender to get a Best Picture nomination. And deservedly so. Do you really think there will be 10 movies released this year that will be better? The problem is “Get Out” represents an unpopular genre with the members of The Academy who vote. The film was released in February. Awards season is way down the road. And there is absolutely no star bait. Nonetheless, cinematically the film is a masterpiece. It’s both entertaining and thought provoking. And the numbers don’t lie, neither does pop cultural buzz.
What “Get Out” won’t do is break down and destroy the Hollywood myth that blacks can lead films to box office success and that Hollywood will soon start flooding the market with like movies. This just isn’t going to happen as many have been reporting. It’s a great success story but the issue of diversity and inclusion is much more difficult to solve. And just one movie can’t shift an industry that has been woefully neglectful of welcoming all ethnicities to the party since its creation.
“Get Out” is a break-out. Something like a comet. Yes, it’s nice to see Hollywood naturally inching closer to diversity. However, the real benefactor of “Get Out’s” massive success is the movie’s writer and director Peele.
Peele has become the first black writer-director to earn more than $100 million at the box office with a debut feature.
“Get Out” puts Peele in an excellent position for a career as a writer-director with real talent on both fronts. Peele signed a first-look deal with Sonar Entertainment just days before the release of “Get Out.” What the success of the film has done is position Peele with the potential to become a brand name. His name may soon have the same Box Office value as a Tyler Perry or Quentin Tarantino. Yes, he may soon be in that space and not many directors exist there.
Born in New York City, Peele, 38, is best known for “Key & Peele,” the TV sketch comedy show co-starring Keegan-Michael Key, like Peele an alum of the Chicago comedy and improvisation circuit.
Peele demonstrated his genius on the show. There were glimpses of the observational brilliance seen in “Get Out” on the show. Many of the show’s sketches demonstrated that Peele had the ability to produce greater material. The razor-sharp writing always had a political and culturally biting edge to it. And was always keenly observational.
What “Get Out” is is a terrific cinematic experience brilliantly delivered by Peele. It’s uniqueness is that it caught fire with millennials. “Get Out” may we’ll be the first certified millennial classic.
Thanks to word of mouth the best advertising money can’t buy the movie became something that adventurous non-millennial had to see.
“Get Out” s about a black man who discovers a horrifying family secret while visiting his white girlfriend’s parents for the first time. It’s a brilliant and layered meditation on both modern and historical racism, and an especially vital piece of filmmaking in this politically charged era.
There are very few films that actually need to be viewed twice. However, it’s almost mandatory that “Get Out” be seen a second d time. It’s a deeply layered movie loaded with with references to horror classics of the past, including some potentially subtler references to films like “A Clockwork Orange” and “Deliverance.” There are also more than a few Easter eggs hidden throughout the film.
The film was a “deeply personal” project, for Peele. He was determined to tell a story about his “slice of the African-American experience.” It’s the type of film audiences need more of and thanks to the success of “Get Out” it may happen.