“Get Out” Finally Gets The Honest Trailer Treatment

“Get Out” Finally Gets The Honest Trailer Treatment

Honest Trailers is taking on Get Out and to be honest I don’t think I can disagree with a lot of it, but I still enjoyed the movie. It had some definite racial aspects in that were easy to spot, and some that weren’t. For instance I didn’t think much about the old white people driving in black cars symbolizing that they were essentially ‘driving’ black bodies after their transplant. I just thought it was kind of interesting that there was enough of the individuals left within the mind being transplanted to come back out time and again when they were exposed to a camera flash of all things. I wonder if that same trigger would work on all of them or if those that had been transplanted much earlier were so well-integrated within their bodies that it was no longer an issue.

It was easy enough to figure out that something was wrong throughout the movie but the creepy undertones and the constant reminder that Chris was a black man in a white-dominated surrounding was constantly pushed, perhaps a little more so than was needed at times. Of course Peele most likely wanted this to be as uncomfortable as possible so as to make people wonder just what was going on even though the idea was always that Chris was somehow going to be in trouble. It was almost as though he flashed the main idea of the film in our faces very quickly and then pulled it away to make us wait until we watched it. That’s kind of cool really, but seems very mean-spirited. Of course looking at it from a distance it’s less the latter than the former since it’s a pretty sly trick for any director to pull in order to see just who’s paying attention.

A lot of this movie had to do with some form of racism or another. The peculiarity of Rose eating Fruit Loops dry with the milk sitting next to her with a straw was odd, and Dean’s efforts to relate to Chris on ‘his level’ were just kind of cringe-worthy. And any interaction with Jeremy was like watching a particularly nasty but sly cat trying to play with a mouse. The only truly scary individual in the house was Missy, as she was the calm, quiet one that was perhaps the most dangerous of them all. Jeremy and Dean were like opposite ends of a spectrum, one seemed friendly while the other seemed somehow antagonistic. Rose on the other hand was meant to stay on Chris’ side until it was finally revealed just why he was there, and then the trap was sprung and he was lost. But not really, if you think about it.

Even when Chris was being controlled he found a way to get past it, and of course there were racial undertones to this as well. The cotton that he picks from the split seam in the armchair drove everyone nuts because it was no longer just a plot device to keep Missy’s voice out, it was now a racial aspect of the movie. Black people, cotton, get it? Thank goodness for Rod, who didn’t buy the whole relationship with Rose and was looking out for his friend the entire time.

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