The Rewatchables - ‘Get Out’ With Bill Simmons, Wesley Morris, Sean Fennessey, and K. Austin Collins

Episode Date: February 27, 2018

The Ringer’s Bill Simmons, Sean Fennessey, and K. Austin Collins and The New York Times' Wesley Morris are lured deep into the suburbs under false pretenses to discuss the pivotal social thriller ��Get Out,’ directed by Jordan Peele and starring Daniel Kaluuya and Allison Williams. For more on 'Get Out' from The Ringer: https://www.theringer.com/2017/3/9/16037938/channel-33-jordan-peele-get-out-interview-454051d123b5 https://www.theringer.com/2017/3/7/16044320/is-get-out-a-game-changer-bf15b86c44c https://www.theringer.com/2017/2/23/16041578/the-scariest-part-of-get-out-is-real-life-24a2a9267233 https://www.theringer.com/movies/2018/2/19/17026326/academy-awards-oscars-jordan-peele-get-out-screenplay Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Here's a new one we're going to break. Only years past since this movie came out. It's the earliest rewatchable we've ever done. Kim Collins is here. Sean Fennis is here. And Wesley Morris is here. It's time. No, no, no, no, no, no, no, no, no, no, no, no.

Here we go. I'm bringing you home. How bad can it be? Can I see your license, please? He wasn't driving. I didn't ask who was driving. I asked to see his ID. Get out.

Call me Dean and you're hungry, my man. I would have voted for Obama for a third term. Get out. Something is weird. Is the people. Get out. Something wrong. I can't move.

We've been chosen. Get out and turn it hard. All right, what an honor. These are four people that do not get together that often to talk about movies, much to my chagrin. I've never been in a room with these four people. I mean, I've been in a room with Sean and Bill, but never Karen. Right. Hi.

That's right. Hi. It's a historic day. I see Bill every goddamn day of my life. I know. And we've talked about this movie a few times. It's on HBO all the time, which I approve. Yeah, I think it's great.

And I've been watching it and I realized it was rewatchable. One, because I kept rewatching it and two, because I keep picking up things. Uh-huh. Yeah. And it's a really brilliant movie. We're taping this a week before the Oscars. I think it's 15 to 1 to win the Oscar. I think it actually has a chance because Cam and I were talking there's nine movies.

Who the hell knows anymore? Bill and Sean, can you all three just break down what 15 to 1 means for... So you bet $100 for... I'm glad someone else that has. This is for Bill to explain. $100, you win 1,500 after it wins. Okay. But what does that mean in terms of its chances?

It means it's a long shot. Okay. Yeah. It's not the longest shot, but it is a medium long shot. The longest shot is the post, right? I'm going to guess. Yeah. That might as well not even be in the list.

And Phantom Thread, I think, is another one that has a chance. Call me by your name as well. Let's not step on get out. Let's just have a little respect. So, $4.5 million budget. It's made over $250 million already. I really hope Jordan Peel got points. He must have, right?

Points? I'm sure. It was his idea. It's all his points, Jordan. There's no movie without Jordan Peel. We should have asked Jason Blum that when he was here. Biggest Blumhouse hit ever. Yeah.

One of the big horror movie hits ever. Four Oscar nominations, Best Picture, Best Actor, Best Screenplay, Best Director, Jordan Peel, the fifth black director, to be nominated for an Oscar for Best Director. Can you name the other four? John Singleton, Steve McQueen, Barry Jenkins, and... Spikely?

No, not Spikeley. No, Spike never got one. It's not Spike. I should have written it down because I can't name the fifth one either. Oh, shit. It'll come to me. All right. 99% Rotten Tomatoes rating for this movie.

Cam's in shock. Cam's like, what? Well, you know, the first thing I thought of. Like, it's too little or too... Well, the first thing I thought of was... Was Black Panther was at, what, 97 and there was an outcry? Yeah. On Twitter anywhere?

Don't we have enough to be mad about? I completely agree. But, yeah, 99% is great. I don't think that really means anything anymore, but that's maybe another podcast. It's nice to flex with. You've written the story already. Who cares? Why do people care if something has 99% approval?

By the way, I 100% brought this up because I knew it would make him mad. It's just annoying. Let's go past it. I don't care what the audience reaction is. I don't care what the critical. score is putting a score on it? I stand behind. I mean, we've already

having a conversation on this show about how behind Sean Fennacy I stand on this. In the director's commentary, Jordan Peel admitted he stole, I stole, I say, in a nice way from all these different movies that he loved, including the shining

in five different spots. Halloween, Sounds of the Lambs, many others. There's a lot of homage moments in there. Filmed in 23 days. short. That seems short. Yeah, that's very short.

Incredibly rewatchable. And I think one of the things that doesn't stand out when you're doing, when you're just rewatching on HBO is how great of an in-theater movie this was. I don't know what you're, I thought we'd go around the room on this one to start. I saw this in the arc late with my wife and my son. And it was a Saturday at like 6 o'clock. And the theater was fucking lost their shit. And they were so into it.

And when he's getting out at the end, by the way, we're going to do lots of spoiler alert. So if you haven't seen this yet, just turn us off now. The theater just lost their shit in a way that is just not common anymore. Where did you see it, Kim? I saw it for the first time at the screening, but it was an all-media screening. And it had... That's the wrong experience. Yeah.

So I saw it again in a regular theater. I choose the Court Street Theater in Brooklyn for anyone who knows. it's a place to go if you want a rowdy experience. I used to love to go there to see movies. If you want a real experience, I would say. I mean, it's not always rowdy, but it's always real. It is, yes, yes. It's one of the best horror movie experience theaters that I remember.

We should just say, we should just, like, not mince words. It is one of America's blackest movie theaters. Oh, okay. We don't have to pretend that it's something else. It's just a black movie theater. Yeah. And so I'm guessing they had some reactions during last 45. I mean, I just saw that Winchester movie there and there were reactions during that.

And that movie couldn't be like wider in terms of horror. And dumber and more boring, but like you get a good, you get the right people together and it'll be a party. Where did you see it, John? I thought it wasn't a screening. I saw it at the arc light in part because I wanted to see it with real people because I, you know, Cam, you guys could both talk about what it's like to see an endless barrage of media screenings. But with movies that you know will be fun. and require, I think, a response, media screenings are not effective

because critics and industry goers are jaded and cynical. And even when they love something, they still will be fairly quiet. Yeah. So I saw it at the arc light as well and people screamed, oh shit, like four times during the movie,

which is great. You'll never get that at a critic screening. I saw, I've seen it four times, three times in a movie theater. Once I saw it at a, I mean, what is basically? a promotional screening, but I mean, there was, there were two rows for critics and about, you know, what, 90 rows for everybody else. So I basically saw it with the people. Yeah. And be given the whooping and

screaming and hollering and hollering and oh my God, and no, he didn't and don't do that in holy shitting. It was, it was, it was definitely a promotional screening. Uh, the second time I saw it at Bam and Brooklyn, Brooklyn Academy of Music. That is tech. based on what's playing, a black theater too. Yeah, yeah. And it was black that day. Did you get applause? Was there applause in the movie?

There's a lot. I mean, there's applause. Well, we can talk about this later, but the applause. I don't know what you guys is, what you guys is a plot situation, perspective for applause situations were. But the final sequence, obviously, you know, when you, when everybody, I'm, even Jordan Peel is, and I disagree about. what is on people's minds when the cop car pulls up.

I just, I knew it was Rod, but there's a large, I mean, I don't know if it's 50, 50, but a lot of people just, the joke obviously, the sad joke is that everybody thinks it's going to be a cop. Yeah. So there's a lot of like, oh my God,

that's what I got every time I saw the movie in a theater. The biggest applause mine got was when Rod, his last line of T-A-S-motherfucking A. Yeah. And my theater went crazy. Yeah. And it was like a, you know, a normal Saturday night crowd, I think, for the most part. People just, they love Rod.

What was your demographic? They just seemed like whatever it would be for any movie I went on the arc late at 6 o'clock. That was my feeling. But I had him on a podcast with Kegu Michael Key, I think, in April. And it was like, what's your next project? And he was like, yeah, I'm doing this horror movie. and he was telling me and I'm like, that sounds terrible. Oh, my God.

What a disastrous career move. And obviously it was the complete opposite. Maybe this was two years ago. I don't remember. I think that you had them on for Keanu. And they were doing press for Keanu. So that was spring of 16. Yeah, that's what it was.

So two years ago. And he was talking about this. I'm like, are you kidding? You're going to do a horror movie? What are you doing? Yeah. And there we go. It was something that I didn't know about him, and he's obviously done a lot of press since.

We've both talked to him. Like, he obviously has a real affinity and a keen eye for the Rosemary's babies and the Stepford wives and this Twilight Zone aspect of storytelling. I was not aware of that, but then when you go back and you watch the best Key & Peel sketches, you can see that there is the bones of a lot of that stuff. He's kind of turning things to the left a little bit more than I had initially realized when I was watching it on Comedy Central. Yeah.

Yeah. Yeah, I mean, I knew that he had a lot of nerd obsessions, but I think I was taken aback by the press before Get Out came out by the horror obsession specifically. That was just not something that I, you know, even watching Key and Peel was just not something I expected. I also didn't love Keanu. So that's kind of where my mind was, was sort of like, I don't know if movies are where these guys should be. I just wasn't sure it was going to translate. I didn't realize the extent to which this was like his, like, auteur project. But did you watch Keanu and think whoever made this?

And, you know, he was a co-writer. There's something in here. Sure. And the things are in there are really interesting. Yes. And once whoever is in, once, wherever the brains is behind this movie gets to do something that is entirely his. Keanu had a couple really inspired parts in it. I liked it.

I don't think I would ever watch it again. But the George Michael scene like slamming. The George Michael scene is great. And I thought Tiffany Haddish, I had no idea who it was. I'm like, I am too early. I'm like, who the hell is this? This lady's a star. I don't know who this is.

Yeah. It's very, it's very rewatchable. It's, it is. Yeah. The honor Ferris stuff too is hilarious. The stuff in the house. I mean, the point in which the movie falls apart is, is just the very it. Where the, where the parody shifts and it just becomes a straight up action movie

parody that also is an action movie. So get out how much of this was it came along at the perfect moment and how much of this was this is a great movie if you had to do a percentage balance. Because it definitely came along at the perfect moment. But when, I'm sorry, but when is the wrong moment for this movie? That's my question. If this movie comes out in 2005. Well, I don't know that Jordan Peel necessarily wants to make it before 2005, right? I mean, I think that Obama is a really, I think the cultural shift that Obama both caused and represented is a major aspect of this movie.

The atmosphere is that presidency. And the atmosphere is this country during that president. It had to come out in the last six years probably. Yeah, yeah. And he's also talked about how he had no idea that this would be seen as some sort of post-Trump election rebuke that he was thinking. of it in an Obama state of mind. When he was writing it and making it, it was a different time in the country. And it actually reflected a little bit more accurately where some of the immediate

sensibility was. But that wasn't the purpose. That wasn't where he was at the time. Yeah, it seemed like, at least in the first half of the movie, he's making fun of all, like, these white people and how their kind of Obama talk seemed to be part of the thing. But yeah, you're right. When did this come out, came out in February? February last weekend.

This weekend is the... is the anniversary of that of that year. Do you think they filmed this before Trump? Oh, yeah. Yeah. They must have, right? Yeah. Yeah.

But I don't know how long it was gestating for him. Years. A year. Oh, wow, right? Yeah, years. Before we go into the categories, what kind of directing creators this guy have? What do we learn from this movie?

What comes? How does he, what's the next step for him? How does he top this? Do you see him directing 15 movies? over the next 30 years or three? That's a good question. I don't know. I don't know how you guys feel.

I definitely having, I mean, what makes this movie as rewatchable as it is is that it's almost deceptively well made. Yeah. The shot selection is really good. The camera work is great. The writing from beginning to end is really better than you.

I mean, I don't know. I personally have been torn about the, I, about the screenwriting, original screenplay category. Distress late. Between, Lady Bird. Yeah, between this and Lady Bird, having seen both movies within like a week of each other barely recently, I'm still torn, but I definitely think the harder. I think that Lady Bird is the real achievement in that movie is the directing. Yeah.

And I think the achievement. in the higher achievement in Get Out is the writing. What do you think, Cam? I agree with that. But I love how the movie deals with what could feel at first glance like obviousness. Like the party scene, the sort of, they're pretty on the nose jokes, but to carry them off with the momentum that it does and to make me not roll my eyes at that because it's sustained by a more powerful idea.

But a serious idea, but an idea that doesn't take itself too seriously in the moment, that's like hard. I think writing well for Allison Williams is hard, but I think this is a perfect role for her. Shots fired. I love her in this movie. She's great in this movie. She's so good. She's amazing in this movie.

Yeah. It's funny that you say that, though. I don't know if any of you guys have looked at the script, but the script is actually pretty different and fatter than the movie. There's a lot in the script that has been cut. And while I completely agree that conceptually and as a written piece, it's a huge achievement, he clearly did a thing where he, cut it a lot more intensely than he planned to, and that's part of what makes scenes like that. If you go back and look on the Blu-ray on the deleted scenes, it's basically just extended aspects of white people asking Chris what it's like to be black. And those scenes, when they're extended,

are terrible. They, like, really don't work. And it's interesting that they even put it on the Blu-ray because it makes it seem so clear that this is, like, a cattle call of some kind. It just, it reveals too much and makes it a little bit more obvious. So, I don't know, he's done, he did something pretty amazing. Like the self-editing is a, that's a, as we all know, is a real skill to know when you've gone too far with something. That's the rule. Deleted scenes deleted for a reason, usually. I would say, I mean, I mean, I don't really want to pit his writing against his directing. I think the two work in a tandem, the same person did both things. Right. Yeah. But I think that in terms of the achievement, it just there's so much here. I mean, and everybody who's seen

this movie more than once is is always surprised by how much more out of it they get i've seen this movie like i said four times the fourth time i felt like i was watching it for the first time again that's how i felt i rewatched it today i remember i saw it in the theater and just watched it for what it was and then we were talking about it sean and i like a few days later and sean's like yeah there's some stuff in that movie and i'm like like like like like the deer she doesn't react to the deer and that mean she does have empathy and I'm like whoa I need to see this again like I just didn't watch it that way I watched it for thinking it was just a thriller I didn't know it had all these nuances and then you watch it we're gonna go through some of the nuances later but man there's a lot of

shit in this movie it's fucking deep like you carve in it's like it's like that david chant the major domo dessert we carve under the shaved ice it's like oh there's rice pudding under here this is great yeah I don't know I just think I think for this to be his first movie I'm kind of flabbergasted by. But if you think about what this movie is actually doing and you think about the person who made it, it really is. I mean, I don't know. I don't feel terribly surprised only in that we have, I mean, that show for as much as

other people were involved in its creation. Yeah, you're right. There was so much directed vision. Yeah. That was, you know, every single sketch was pointing to a larger idea. Every single one was in conversation with this larger idea of what that show was about. I think I'm just, maybe from our world, it's so hard to get somebody to the place they need to eventually get to. Like a lot of the writers we work with, sometimes it takes years.

And for somebody to just come in and direct their first movie, it'd be really good at it. I was Greta Gerwig. Same thing. It's like, how are you good at this right away? You should have fucked up like five things of this movie. But both of those people had similar experiences. They were writers for a long period of time. they're in their mid to late 30s,

you know, Jordan in particular has had, has made a lot of things. I mean, he was on Matt TV 12, 14 years ago. I mean, he's really had a ton of experience. And making Key & Peel is like making a thousand short films.

You know, you figure out the little nuances and the small choices to make. And that's why, even though it's his first movie, it's really, it's like it's 10. And they ended that show at its ideological and I would say

formal peak. Right. They ended that show at exactly the moment. I think they knew it, I think they really cared about when it ended. Yeah, I think they, I mean, you definitely want to go away the way they went. But I also just think that I think Keanu was just something like, I mean, I don't like the term vanity project when it comes to certain things.

But this definitely was a key and peel vanity project in some way. I felt like somebody was like, how can we capitalize on the show being over? We got to do something together again as opposed to an original vision that is Jordan's own. But that felt true to the spirit of the show. but that also was kind of advancing them towards something else. Yes. And so, yeah, I mean,

this seemed both inevitable and a surprise. Okay. I just wouldn't, I think the surprise is really what a good filmmaker he is. One last thing about this, actually, I was thinking about this.

If you've ever seen the Gremlins two sketch on Key and Peel, you know that Jordan really, really gets movies. And, like, he gets what's funny about the movie industry and about what can get across the line, and that's such a clever, bizarre, like inexplicable sketch just without any context. But if you watch it now and you see how he's risen so quickly, you see that he just gets it.

He gets the industry, he gets how to make movies, he gets what's funny about all this shit. I didn't watch the director's commentary, but I did read a piece on the internet called 40 things I learned from the director's commentary. So I'm stealing from that guy. Thank you. But all the shining homage is, and they were super important to him. I'm going to step on an internet research corner. Did you know he was inspired to write the, why, what the inspiration was, what movie inspired him to write it out?

Is it not one of the obvious ones? Like, guess who's kind of. Eddie Murphy delirious. The scene. Oh, yeah. The polter guys. Why do white people stay in the house? And if it was a black person in this house, it'd be like the ghost's like, get out.

Okay, I'll see you later. That's, that was the inspiration for this movie. And that's where he got the title get out from that Eddie Murphy thing. That makes sense to me. That makes completely intense to me. All right. Categories. Most rewatchable scene.

Here are the nominees. The opening should mention that guy comes back later, which is something you catch like the third viewing. Oh, really? Well, that I noticed the first time. Lekeith. Oh, yeah. Yeah. Yeah, yeah, yeah.

Sure. Like when he's kidnapped. Hey, you're in the movie theater. You're not like, I'm going to file that guy's face away for later. Yes. Hitting the deer. There's a lot of nuance in that scene. That gets super artsy, fartsy.

I like it. The cigarette break with the guy sprinting at him, which became a whole thing, the get-out game. The iPhone scene, when the Keith has a seizure, when Chris finds out the family is basically evil, and that whole part. The escape and then the very ending. Most rewatchable. Your fucking channels. Gotta put the sunken place on, though. I was going to conjoint.

Well, the guy running out. The sunken place creeps me out. I didn't put it on there. I don't like the sunken place. That's the movie right there. I know. I don't like Catherine Kiner's face. I don't like the tap of the coffee.

It's so effective. It's really good. It's so disturbing. I don't want to realize. It's totally effective. It's wonderful, though. Fine. I'll put it on there.

Okay. Well, I mean, you could just can, you can attach it to the cigarette brick. It's a cigarette break scene because they're like that leads into her finding him reentering the house. But I mean, that sequence. That's your part. Guy running at him. Betty, what's her last thing?

Betty Gabriel. Betty Gabriel, adjusting the wig and the mirror. Yeah. Going back in. So you think that's the best stretch of this movie? I don't, I mean, having now watched it, you know, as recently as 10 days ago. I just think, you know, it's hard because, like, whole thing hangs together as a movie.

I can take it scene to scene and talk about what's great about each scene, but each scene is great. And there's... By the way, not a ton of scenes in this movie. No. It's basically moves like, what, eight times total? It's about 11 or 12 scenes.

Yeah. Can I, like, you put the opening on the list and I'm just curious about why you chose that. Because it's, I think it's one of the best, what the hell is going on openings for a horror movie. Horror movies usually don't start with something that goes, I'm scared what that'll just happen. Scream.

Scream is another example on this. Yeah, that's it. I would say this movie has three openings. Okay. So the sequence where the Lakeith Stanfield character is that the official Drew Barrymore in scream opening. Which, by the way, you realize much later that it's the same MMA headlock that the crazy brother does.

He has a brother. It's the other thing you don't pick up on the first. Well, you see the car. Right. Like, we know what that car shows up again. That's got three openings. The opening with Lakeith Stanfield walking around that neighborhood, you know, and the mumbling that he does is great.

And the, like, like, the suspicion that he's alone, but more talking to himself so he's not alone. Turns around the car door's open. He turns around in the car door's open. And you don't know where the camera. as it's pivoting around him, how far around Keith Stanfield is it going to go? So you, till you see the door open and you know, like, whoever's driving the car is behind it. And then there's a cut to, so then you get that Swahili opening. Oh, no.

That's fantastic. Which, do you guys know what that means by the way? Is it a bad sign that my son was singing that in the car the other day? Does that mean he'd seen it out too many times? Okay. He's passable and Swahili. Great, okay. But do you guys know what that means?

I just want to make sure I remember to bring this up. It's like, it's basically, uh, secula, qua, waha. I can't read the rest of my handwriting. But basically, brother, listen to your ancestors. Brother run. Uh, you need to run far. Run, run to save your life. Listen to your ancestors.

I mean, first of all, it is, it is arranged those words in Swahili to sound like a something just from a horror movie. A warning. Like a straight up warning from a horror. horror movie. It could be 1978 and you're watching the Omen 2 which I think was 79 but whatever. Yeah. And

then the third opening is the Redbone song playing during as the camera sort of grazes Chris's photography and the people in those photographs. And you just get three

I mean for me that opening sequence as much as it is formally riffing on the scream opening sequence is very much a middle passage thing to me. We're like, you know, this, this, we don't know the race of the person putting this guy in the white car. He's, you can't see him. He's did a motorcycle element and black gear.

But I just, it doesn't matter because black people help black people get to America anyway. It does one other great thing too, which is that it shows us Allison Williams through the glass at the donut shop. And she is this, she's like a vision of, of white beauty. And she's purchasing something that is like. sweet and nice and we know that she is a character whose side we're going to be on. The way that she's presented is perfect. It's like a great setup for pulling the rug out.

Well, you know, Jordan Pills said in the director's commentary that he wanted to start with Chris shaving because the way shaving cream, it was white face basically. Yeah, yeah. I'm immediately suspicious of Allison Williams, but I think that's because of girls. That's you. I like girls. I have feelings about Marnie, but I have feelings about Marnie, but I think. I think I just, I can't divorce the two.

So as soon as I see her, what's shocking to me is that she, for the first few scenes, is like a good girlfriend because I'm thinking, this has got to be, this is not right. Except for when she tries to kill him and turns evil, I thought she was a pretty good girlfriend. Other than that one part. She was really good at it. I was joking. Other than that, she was murder. Sean was staring at being hard.

I was concerned. What was your most rewatchable scene? Well, it's funny. When you said the phone scene, I thought you meant the Betty Gabriel, um, plugging the phone confrontation. That's the iPhone scene. Yeah, yeah. Oh,

that's what I did mean, actually. Okay. Yeah, I said the camera flash. Yeah, I met the, those are both iconic. When she starts crying.

Yeah, but Betty Gabriel. I thought she should have been nominated. She was totally robbed. She was absolutely robbed. I would say, I mean, who is pushing out. That's a pretty great category.

I'm pushing Mary J. Blige out. That's a no-brainer. Yeah. That's really talked about this. Mary. That's a really easy one. Mary.

Mary, you know I love you. I love you, Mary. But you are not good in that movie. No. You just are what I mean, this is a separate conversation for a different show, but I don't I don't understand what people who watched that movie, how can you watch that movie and not think that Rob Harris, is that Rob Morgan, sorry.

Rob Morgan is incredible. He's the only person giving up great performance in that movie. I totally agree. We had this exact conversation, camera tonight. Do you think the voters are just like, hey, Mary Kate Blige, I love her. But they. People seem to like her in that movie. I just, I think it's legitimate, legitimate enthusiasm for her.

I just feel like of all the actors who've ever acted in movies and were great, why, why it's her, again, I'm getting all my Mary J. Blige cards taken away from me. But Betty Gabriel is really good in this movie. I don't answer to anyone. I don't know it sometimes, but there's too many white people are getting nervous, you know? Oh, oh, no. Oh, no. I'd do something. That's not my experience.

Not at all. I think of all the people who had to act last year, Betty Gabriel, I would say, had one of the absolute hardest jobs. I was going to say, in the iPhone scene, that's a really hard scene. She just basically, it's a close-up of her face, and 19 things have to happen over the course of two minutes.

19 things have to be easy. It's completely exposed. Yeah. There's no hard. There's no running from that. And she has to, I don't think the movie works if I can't see through her how there's multiple identities of person operating, you know, and her face. Like, yeah, that doesn't work for me if she can't do that. But even, like, the first time you saw it, you didn't really know what her problem was.

Right. But you knew she had a problem. Something was wrong. And something was, something was really wrong. Do you think she could have a career after this? Because it's going to take me five years to Unsee get out with her. But she doesn't look like that in real life. Yeah.

Yeah. She looks nothing like Georgina in real life. So she's okay. I would love to see what else other films could make of her talent. That was such like, it's like, it's like, working with her.

The character's like seared into my head. I really need to, I need her to be in like a girls trip type of movie where she's dangling from a stripper's pole or something. Or she's just a great actress who will basically play Catherine Graham. What's up so? The Washington Black Post. What was your most rewatchable, Sean? I'm not sure if I really have one.

That's a bad answer. I like the phone confrontation too. Betty Gabriel is saying, Tattletail was like burned into my brain. And that also kind of communicates something where she can't understand the way that Chris is talking indicates something that's fascinating.

You know, like they're from two different eras. I like that one a lot. I also, I love, love, love. Give me those keys, You know, that whole moment and when finally, when Allison Williams turns, is just a perfect, like, horror movie moment where you're waiting and waiting and waiting,

waiting and waiting and waiting for payoff. And then that evil white woman turns. That's my favorite stretch from when he's gone through the photos, which is the classic horror movie, it is divisive. Oh, that door's slightly ajar. I wonder what's in there. Oh, it's pictures. Oh, I'll go through the screen.

Oh, it's a scrapbook. Whoa, hey. It's not Jason. It's Mrs. Voorhees. And then it's like, it's her with a black guy and a black guy and a black guy. And then it's like, wait, that's the gardener. Yeah. Yeah.

Oh, that's. That's Georgina. Betty, that's Georgina. And that's just like, in the theater, everybody's like, whoa. Yeah. No, I don't know what your situation was. I'm assuming that we probably had similar situations where the minute he opens the book and you see one black person.

You're like, here we go. Oh, shit, man. Oh, fuck. Everybody lost their shit with the first picture. And by the fifth, by the fifth, I think there are one, two, three, there's five pictures. No, there's nine. Is there nine? The last two are the gardener, the grandmother or grandfather.

Before you even, by the time you get to like picture number four or five, the audience is like up in their seats. They don't know where this movie is going, but they are freaking out because it's every black persons who dates a white person. worst nightmare. Because I'm not saying it's abnormal. Like, I want to be wanted by everybody. I don't just white people, but the idea. Where is this going? You just don't want to find out that your boo has a fetish

for other booes who look like you. It's all I'm saying. It's a nightmare. It's also the moment. For me, like, the moment you realize the extent to which Lurrell's character is right about everything, yes, yes. really lands in that moment too, because he's so, for a while, it's like, this is kind of far-fetched.

He's Martin Lawrence and Boomerang for a little while. Exactly. So, like, the extent to which he is right, that is the moment that for me, I'm like, holy shit. That movie still holds up. Talk about rewatchable. I mean, don't think we're not doing Boomerang at some point. Great soundtrack. Speaking of Mr. Howley, we might have to name the Dion Waders Award after him for best T-check

performance. The Lill-Roward? It's a pantheon, he checked performance. The other candidates, Betty Gabriel, Bradley Woodford, Lekees-Stanfield,

but I mean, come on. It's Betty, I would say, Betty Gabriel. I mean, he's got the best, he,

Lil Ray has the best part, but Betty Gabriel gives the best performance. No, that's not the, that's not the category. Yes, yes, yes. In terms of the value of,

this is like, he's in the movie for 13 minutes and gets off 28 shots, and are we sure Caleb Landry Jones isn't the winner of this award? He's really really going for it.

You ever get in a street fight as a kid? I did judo after school. First grade. You should have seen me. Judo. Lose with your frame and your genetic makeup. If you really pushed your body and I mean really trained, you know.

No pussy footing around. You'd be a fucking beast. You know this person. There's an East Coast, aggressive white boy who plays lacrosse. That is the most unfortunate guy at every social occasion from the ages of 14 to 25 when you grow up in a particular milieu. Yeah. And I went to college with about 150 of those guys. He is that guy.

And he makes me really uncomfortable. Yeah. And it's a little weird in a movie like Get Out to be like, we should give an award to this creepy white guy. But he is very affection. He tapped into that. He legitimately scares me in this movie because of exactly what Sean's talking about, because he's every white lacrosse bro in college that I was afraid of. Yeah, he's an Arkansas bully who picked on you.

But I have some questions. I also, this is going to be a nice argument. If there's something about this movie that to me is either too much or just doesn't make sense, it's that character. And I'm not saying that it that it rings false or anything. It rings very true. But one of the, one of the, the genius of this movie to me is the question that you're left with, the idea that the movie doesn't, this fight of people that some people are having about,

and it's a minor fight, about whether the movie works, whether the movie works as a metaphor or an allegory, or whether it works as a, as an actual world, right? So that, the sort of, the experiment is, or the speculation is, what happens when we're not there with the Armitages? Like, what is grandpa in the gardener's body and grandma in Georgina's body

and mommy and daddy, Armitage, and Rose? What do they all do all day long? Playing like Scrabble? Right. I mean, I don't know. But for the, as a metaphor, for what those people are doing. While we are there,

it's ingenious. Are you saying you think the brother's too weird? I don't know where he fits. I don't know where he fits in either the allegory or the sort of the family that exists without our gates. See, so I agree with that he's my one nitpick with the movie. I just think he's too weird.

I actually think it would have been better if he was like this kind of Kennedy cousin type guy who's like wearing, you know, like a white polo sweater and like trying too hard, but you know deep down he's killed people. So this guy's just like a fucking weirdo. I have an argument for this. I guess especially if you consider it in the real world,

I can't explain necessarily what the Armitages are doing on like a Wednesday afternoon. I don't think we're going to be able to explain that. But that character to me is like the demon seed of crazy people. And when crazy people over multiple generations continue to procreate and they preach gospel of insanity,

you end up, and especially when those people are employed to be the violence in this act, the kidnapper, the person who takes the person down physically, the habits that they form are even more dangerous, more destructive, and seem crazier. He just seems crazier at that dinner table

at that first scene because he's the craziest one out of all of them. Well, you know what, my problem, It's really smart actually because I realize my problem isn't my problem is actually that I am so uncomfortable about by that character. I'm made so uncomfortable by that character partially because he's the person who is entirely what what I'm familiar with is a classic American racist. Yeah. Right. Like everything about that guy.

So you think Jordan Peel told him to dial it up? Oh, clearly. I mean, Jordan Peel has such controller with this movie that, I mean, he obviously would be able to sit here and tell us what he was thinking. Let me flip it around. Who would you rather have seen in that part? You could pick any actor who's 25 from the last 30 years, some 25-year-old version of themselves. Could that have been Brad Pitt in 1992? Maybe, but.

I think Brad has a weird facial hair. You need somebody mangyer than that. Yeah. Caleb is so mangy and everything that he's in. The mangy. is really important. It's really essential to him. Is he British, by the way?

Is he American? Because there's something about, like, I just, I don't, he just seems like a, like an Australian in disguise. Do you know me? Like, you know me. I'm suspicious of everybody who acts now. I think everybody's British. So we, do we think Rod is the he check winner?

Yeah. Yeah. I mean, he's definitely the person that the audience, yes. I mean, he would, he would, he would, the audience would also, he would. He's the people's choice as well. Okay, thank you. All right, let's take a break. I want to tell you about Shutter.

Brought to you by AMC Network. Shutter is a premium streaming video service for fans of all degrees of thrillers, suspense, and horror. They have an unparalleled lineup curated by genre fanatics and industry experts. It's the home for the largest and fastest growing selection of high-quality, spine-tangling, and provocative movies, TV series, and originals.

I am rooting for these guys because the Simmons family loves horror movies. I think we've seen all of them. With Shutter, there's something new and unexpected for members to explore, revisit, like their 1980s practical FX horror collection, Get Rad, a celebration of teenagers in tight denim and the monsters who love them. Wow. Shutter's Get Rad collection takes its philosophy directly from the tagline of 1982's chainsaw spree pieces.

It's exactly what you think it is. Somehow I've never seen pieces. Hey, here's how easy of this. This is. The plans start at just $3.99 per month. I have great news. Rewatchables listeners can start a free 30-day trial by going to shudder.com and using promo code rewatch. I'm doing this when I get home tonight.

My son has probably seen all of these. Is it a bad sign when your son walks around with a hockey mask on? It might be. Anyway, check out Shutter. And hopefully my son won't show up in your house on the second. floor with a chainsaw someday. Back to the rewatchables. What's aged the best?

The sunken place, the casting, all the racism, Daniel Kaluya, the escape, Rod's comedy, or the theme song. Now, this is a tough category because we'll be like about a year ago. The beginning theme song, the one you tried to pronounce before. Did you suggest that the racism has aged the best? Well, I think. I think this movie is even more relevant. Right.

This year than it was 12 months ago because America's got a little more racist. Well, but see, the part of, I'm going to use this word and I'm not going to apologize for it. The genius, like one of the, part of this movie's genius is its refusal to as discomfort as discomfortable, as is uncomfortable as I am, as I'm made by that, by the brother, the Caleb Landry Jones character. I also have a theory about what happens in this country when you go far enough north. Like if you, once you get to like northern Maine, you're basically in the south.

And I mean, I feel like there's something about that character. But you're from Massachusetts. You get it. I get it. You've had a taste of it. I've had a taste or two. And I feel like the way that he, He has thought about racism never, this version of racism never being like explicitly

represented by any Hollywood movie because the people who make movies are this kind of racist. Yeah. Is really fascinating to me. And it's, it's so brilliant. So you're saying that stage is the best. It's a hard question. What do you have? It's a hard question and the answer.

It's been a year. I don't know. I'm very fond of the casting. I think in the future, I'm going to think about this. pivot for Allison Williams, hopefully. I want her to keep doing things. I keep bringing her up because she really impressed me. Demi Kalu is really big for me.

Betty Gabriel is very big for me. The only person I don't like in the movie is probably Catherine Keener, but I also think the idea of her is perfect in this movie, like the indie. Like you don't like her performance or you don't like the character? I don't like the performance. I like the character, but the performance, everyone else is very alert and very there,

and I feel that she isn't. Oh, that's interesting. I was thinking this too today. I was wondering in different hands, is that a better character? Like if Meryl Streep was the mom. You guys should go back and rewatch the first Sunkin' Place sequence because she and Daniel Kaluya are on the same page for that in a really interesting way. They have a tandem that you can't really appreciate because all the dramatic emphasis

is obviously on what he's going through. But the way she exerts control without doing anything. but using her wrist is just... Yeah. Now sink into the floor. Wait, wait, wait, wait, wait. Now you're in the sunken place. It's just, I mean, she's really good in that sequence.

And she only has, what, two or three other scenes. Jordan Peele said he ripped off Silence of the Lambs with that, the way he shot it. Yeah, and like, sure, definitely Jonathan Demi. It's a definite, not Jonathan Demi. The showdown between Lecter and Clarice and the jail. That little nice run he had in Silence of Lambs filled with. Philadelphia when the camera right on the people. The 360, the violation of the other action.

I'm not doing what age the worst because the movie came out a year ago and I still like every piece of it. The brothers, five years from now, I might be upset about the brother, but I'm not quite there. He's going to be everywhere. He's already everywhere. He's in a lot of stuff. He's in everything. I get to ask. What do you think about?

I couldn't come up with an answer for this. The Mark Ruffalo, they knew! Overacting Award. I didn't feel like there was overacting in this. I think that the entire Bradley Whitford performance is overacting, but it's to a purpose. It's like when you meet someone's dad that you're dating and you're like, whoa, this guy's really going for it. Like, he's really, he's performing for me right now in a way that is either meant to intimidate me or impress me. And in a weird way, he's trying to do both.

And so the performance inside the performance. And then also when he breaks bad, he's like extremely malevolent to the point of like parody where he's looking into the fireplace. He's like to think of the shape of life. You talk me into it. Bradley Wifford. That was easy. Halfass Internet Research Corner. I mentioned the Eddie Murphy delirious thing.

This is interesting because there's a lot of stuff about the process he had. There were two alternate endings, one which they didn't film and one which they did film, which apparently is on the Blu-Rae. Have you ever seen the alternate ending? So in the alternate ending, the sirens come and Chris is arrested and his buddy Rod comes to visit him in prison and he's just never getting out and gets blamed for everything. It's the fatal attraction. It's the alternative. It's the alternate fatal attraction. Let me tell you something.

That would have bummed out the theater. His final line of dialogue is really interesting. I wanted to know what you guys thought of it. At the end of that alternate ending, which I think originally Jordan said he wanted to use, that was what he was going to use. He just says, I stopped them. Yeah. You know, that's the kind of the denouement where he's just like he has achieved something at least. And so the rest of his life's been in prison will have been for something to stop this family doing this.

But that's a complicated idea to parse. Yeah. Fatal attractions are great, that's one of the great what if had they gone with the other ending things. They had to bring Glenn Close back, put her in a wig. Because you know what happened to the original ending, right? No. The original ending, he kills herself. He goes over and he like fights her and the thing.

thing and then he leaves, but he touches the knife because she comes after her and his fingerprints are on it. And she plays whatever the, what was the lady? Matter of butterfly. Yeah, yeah. And stabs herself with the knife. Wow. Frames him for the murder.

And then they come and get him and the police take her off. And he tells the wife, go get my stuff upstairs. And the wife runs into the attic and plays the tape of, and was like, what's this? And puts the tape in. And it's Glenn Close saying, like, I'm going to kill myself. So there's like a glimmer of hope at the inning. Needless to say, not as fun as just watching you get killed in the bathroom.

But the police, and the police come and take him away. The police take him away. Like he's going to jail. Wow. So get out. I thought this was interesting. The pivotal script moment,

Chris goes off on Rose about how racist her family was and how he wanted to leave. Right in that scene when they go out and they're talking by the water. They do the rehearsals and Jordan Peel realizes that forcing Rose to convince Chris to stay

with tip the audience that she's weird. So they flip it and they have Rose manipulate Chris like she's realizing her parents are Looney. And then that makes it seem like she's not. So then it. God, what a psycho. She's so smart. Yeah, but that's a huge part of that movie

because if you know she's crazy at that moment, then the 20 minutes later is the way. They're having the Rocks the Crail. And you just can't, you don't want to stay in the movie because everybody's so stupid. Yep. Right. Like, there's nothing worse than being in a movie like a pot boiler like this where I'm ready to drink the tea. But I can't take the pot off because, you know, the instructions say that it has to stay on for another 20 minutes.

Fuck you. I'm thirsty. Well, to be fair, Handler Rocks the Crater was a great movie. And how dare you bring it up in disparaging tons. I'm sorry, but it takes too long for the great part to happen. You can't believe that Annabelle's gear is that dumb. She had asthma. She didn't have enough oxygen.

My wife has a real problem with like movie screenplay convention bullshit like that. Like she'll just walk out of a movie if she just feels like everyone is too stupid and the sequence is too obvious. She'll just be like, I'm not interested. And this movie is great at always kind of keeping you on your toes. Always being like, I don't quite understand why someone's doing this. But it's never totally revealed what's going on until it happens. trade. Rod Adlib, the majority of his funny lines.

Amazing. Which usually seems to happen and is a good director tip. If you have a funny person on the set, just let them ad lib, you might end up using five lines. He's so funny in the conversation with the police officers. Yeah. He's so good. Well, there's another great moment. That's another great sequence because Jordan Peel is once again fucking with us

because he gets to the police station and the cop who shows up is Erica Alexander. Yeah. Who every black person or many white people, maybe, and, you know, many other races as well, know from living single. And where is she been? I don't know. It's the first time I've seen her in 10 years.

But she's wonderful. And I love her and I can watch her do anything. She shows up and you're like, oh, this is what's going to happen. Yeah. go and these two, this black woman and this black man go to this house and kill everybody and get Chris. But no, what happens? She brings out a Latino dude and a white and another black guy, right?

Yep. Yes. And the three of them just laugh at him because law enforcement is so crazy that they can't, they don't want to believe this shit either. That should have been an, it's such a brilliant scene. That should have been an alternate scene where she actually is like, let's go. I really thought that's what I mean, I thought that's so excited. Yeah.

Yeah, she's great. The Get Out Challenge became a thing, apparently. I never really... I don't know. What was that? People were doing this on the internet, just running straight up people and then turning. And then Jordan Peele did this on Jimmy Fallon show,

and there's a whole YouTube social thing going on. I'm extremely old. I also missed this. And I can't believe I missed this, but Sam Jackson took issue. Oh, you did you miss that? You missed that? That was a huge deal.

I said about I missed this. That was a huge thing. It happened like with, in like weeks of the movie opening too. It's a bad corner. Bad corner for Sam Jackson. But listen. Listen.

This is a hard thing to talk about, but it's, but it's real. Okay. And just to set it up, Sam Jackson, movies out, huge it. Sam Jackson, I think, I don't remember who he's talking to, but, but, but, but, but is quoted as saying basically, you know, I like the movie, but, you know, it would have been, it would have been that much better if they had gotten a brother. to play the part because he really would have understood what was going on. He would, I mean, basically what Sam Jackson was saying was like, this brother ain't got no soul.

And I feel like an actual American dude would have gotten at some, you know, I don't necessarily know that that applies to Daniel Kaluya in this movie. I am aware that he is, I knew he was British before I saw it. I haven't thought it as sort of bigotedly as Samuel L. Jackson has thought it. But there is a thing with casting directors with African-American men versus British black Brits, where the casting directors who almost uniformly are white want black British people to play everybody who's black in American movies because they, quote, have more training on Right. She would tell us you four and 12 years of sleep.

I mean, throw a rock, Sean. Right. So I think that what Sam Jackson is actually saying, I mean, I don't want to speak for a person who can speak as well as Sam Jackson can. But there's something, I mean, that comment is not about get out as much as it is about what Hollywood is doing to African American men. and it's preference for British people, regardless of what their race is.

And I don't know if Sam Jackson at this point's been on the receiving end of that, but I'm sure Michael B. Jordan has. What do you think, Kim? No, I completely agree. I haven't, I didn't think this with regard to get out, but this is something, what, when Samuel Jackson's comments came out, I thought of Tandy Newton as a name who's come up in this kind of comment. For example, I remember this conversation happening, Circa, I mean, there are a lot of things going on and crashed.

But I remember I remember there being a conversation about her, her performance against the other black performances in the movie. This is, this is complicated. It's a real thing, though. This is good, though. That training thing is like such a killer and not just for black actors, but it's really pointed here where this veneer of excess talent. because of Shakespearean training that you get, like it's attached to British actors. That really is a disservice to,

I mean, it's funny how that would come up in a conversation about a movie, like in a casting conversation and a movie like, get out, like this need for Shakespeare training or whatever. I won't, I cannot name names, but I have talked to pick a black director.

Yeah. I have talked about this and it is a thing. And these guys and women fight, really hard to try to find, to like convince studios, producers, casting directors to use black Americans when they can. But it's a fight. We're in an interesting moment for this too. I mean, in a Black Panther moment where that cast specifically is literally American and British operating at the same time. Well, it's not, but see, the Black Panther is is a, is the ultimate fantasy though, right? I mean, the beauty of.

of that movie is it it's so Pan-African that it completely neutralizes Samuel L. Jackson's legitimate complaint or it or it tables it for now, right? This is a world in which every kind of black person basically appears and doesn't have to pretend to be something else except Wakandan. Right. I mean, we're all Wakandan according to that movie. If he'd made his comments right after Salma, I think the reception of a comment would have been. Yeah, that would have been a little bit different.

as good as David O'Yellow is as Martin Luther King Like Jeffrey Wright Didn't answer the phone when Ava DuVernay picked it up the call? He already did it. He already played that role. He can do it again.

I agree. Yeah. But I mean, that was the thing that happened. But it amazingly enough did not distract from how good Daniel Kalulia is in this movie because I mean, is this where we talk about Daniel Kalalia?

Yeah, we can be. We can put it here. Is he good or is he best actor good? Oh, yeah. He's definitely best actor good. Yeah, he's really good. Best actor nominee good or best actor good? I was surprised they nominated him only because of who the Oscars are, but no, I think he

deserves to be there. It's so subtle. Was this a top five acting performance this year? It's a really difficult performance. It's really difficult. Also, I think he is in the upper one percentile of people if you showed him speaking in his natural accent, they would be blown away. They would have no idea.

I have talked to him. I couldn't understand a word he was saying. And we both speak English. He is British. He's British. Wow. Yes. And he's just really, I'll just go back to the first hypnosis scene.

And everybody, the thing that people remember about that sequence is his eyes. Yes. Yeah. But look at his mouth. Look at his hands. Look at his shoulders. look at how he's connecting to Catherine Keener's character

and simultaneously resisting going under but also at the same time going under which we can tell he's doing because he's remembering all this shit and the rictus of dread and kind of relief

on his face that he's doing for that whole sequence and then when he goes under and he's like sunk into the floor and he's looking up I mean the metaphor of the sunken place visually is also amazing because he's looking up and it's this white lady

on a screen in a black space trapping him there. The movies and TV are, I mean, this is not performance, but like the look on his face is he's looking up, I don't know what he actually is singing when they shot it,

but I mean, his looking up at that screen and seeing this white lady there, trapping him is like the look of horror that he can't do anything about it. I just... The paralysis. Daniel Day Lewis is great.

in Phantom Thread. I'm not taking anything away from how good he is, but I frankly, if I were an Oscar voter and I had those five dudes in front of me and I couldn't vote for Tom Hanks, not that I would have necessarily

voted for him over. In The Post? Tom Hanks. I love Tom Hanks in the Post. You guys can all go. You guys. You just don't know what the year. Jesus.

Oh my gosh. I just didn't expect that. I love it. I like it. You guys suck. Anyway, of those five guys, I'm going to vote for Kalia. Bill, did you, when you saw it,

because you care about this. Were you like, that guy's a movie star for us now? He's going to be top-lining movies for the next 20 years. They'll never let him. I thought he was really good. When he got nominated for Best Actor, I was pleasantly surprised. And I didn't know if it was an overreaction or not. And then I looked at the categories, the people and I looked at who got snubbed. And I was like, him and Dana Day Lewis were probably my two favorite performances. It just never dawned to me when I was watching it that it was the best actor performance.

Like when we were at Phantom Thread, I was like, my God, this is like, Daniel Day Lewis just going for like 60 in the garden with 15 assists, like just like fucking thrown it out there. His whole, like he's always going to be going for,

I mean, that's Galey Lewis's whole thing. And then I was trying to think after when he got nominated, I was like, who, all right, who else could have played that part? Because I think that's a really good game for the Oscars,

like Phantom Threat. It's like, Dana Day Lewis, It's like, that's it. That part was created for him. He's the only person who could have played it. And this, I'm like, I don't know what other actor I could have thrown in to get out that would have been as good. What if it was Michael B. Jordan?

That's the obvious go-to thing, which is kind of a sad state of black actors right now under 35. No, it's actually, things are really good for black actors. It's just that you don't have any, you don't have a lot of proof, right? I mean, you there. So if it's Michael B. Jordan, is this movie better or worse? I feel like it's worse because he has Mikelinson. be Jordan baggage that he's bringing into it and I'm always feeling like that's Michael be Jordan.

That was a factor. People didn't really have a relationship. I had no baggage with Daniel. Yeah. And that's one of the reasons I really liked it. A couple artsy-fartsy things that I found on the internet and Half-Fast Internet Research Corner.

Catherine Keener controls her subjects with the silver spoon synonymous with privilege. Yeah. I would have just assumed this, like on Tribuneette, I just would have been like it's silver. Rose's character, we talked about No sympathy for the deer Doesn't seem interested to know if she killed it or not.

It's a sign. At the end of the movie, Rose is on the side of the road With the Gunshot One, left to die Like Chris's mother on the side of the road. That's weird. Also like the deer. And like the deer.

Can I say something really quickly? Yeah. When I was in college was I took a trip with a young woman and we hit a deer and it was the craziest most dramatic thing was not a romantic scenario it was just a girl I went to college with

and we were just in a car driving like 45 minutes away for a story actually that we were reporting we hit a deer and it was as if I was part of like a nuclear war I was like distraught trying to figure out what had happened it was so violent and loud yeah it's the loud and thump and confusing and frustrating

It also like forges a bond with the person that you're with. It is the most traumatic thing. And that's part of why when I first talked to you about the movie, I was like, that Deerstein is really crazy because Rose is a sociopath. Yeah, and that is nonpluss by the whole thing. And then some people might not know this. I'm going to bring this up when she fights the cop not to have Chris give the ID. This is a good one.

It's because she doesn't want a trace of Chris any sort of record at all. But it's one of those things. I didn't pick that up when I first saw the movie. A number of people pointed that out to me. I didn't think about it either. There's some, the bingo game slash parallel for the slavery auction. I mean, it's pretty obvious, but just have to mention that. And then I did not notice this until I saw this on the internet and it made sense and who knows if it's true.

Chris is ripping the stuffing out of the weather chair. Oh, and it's cotton. Cotton. Yeah. Save his life. And on an internet thing, it could be like, oh, that's a parallel for picking cotton and going. Jordan Peel admitted that not only was that the parallel, but the original chair had polyester,

and they replaced it with cotton because he so desperately wanted the symbolism of that. So there you go. Did Bradley Whitford tells Chris that he hates deer, and then he kills him with the deer's head? Nice little twist. I didn't catch that. I didn't catch that. Rose eating fruit loops and drinking milk separately,

but fruit loops is, a phrase for crazy people. That's a good one. I also love that moment. The metaphor of segregation. Two rich guy prep school weapons used in this? A lacrosse stick and a botchy ball?

Yeah. I noticed that in it. I read that on the internet. And then we talked about the shaving cream in the face. Rose joked in the beginning that her father might meet him or is not going to meet him in the driveway with a shotgun.

And in the end, she's the one with the shotgun. A lot of nuances in this movie. I have a couple. Yeah, okay. Give me a couple more. While we're doing this. It's almost like reading a good book or something. When, first of all, the first two songs involve running.

There's that old run rabbit run and then Sinky Lisa, you know, when you translate it as runaway. That's listen to your elders. but when you translate the whole song, the words runaway are part of the small hilly. When she's talking to, to Rod, when Rose is talking to Rod in that first conversation on the phone,

on the way to their parents, and Rod is like, he says, you know you picked the wrong dude, right? And she's like, yeah, you, oh, you're so silly, Rod. I just picked him to get to you. I mean.

And that is what she did. Great. I mean. Yes. That's really, where is Lake Pontico, by the way? I mean, I know it's not real, but where... It struck me as... What was the Straitgo area?

I thought it was in like the Virginia area. It struck me as like Lake George, that sort of a thing. Yeah, I was thinking like Virginia, Maryland area for some reason. The family seems to... Not Virginia to me. That's a different kind of historical racism. Or like Maryland? I don't know, Malman, really.

I don't know. Somebody should ask Jordan Peel that question. I believe I did. No, I can't have all right. Let's take one more break. I want to talk about my best friends in life, ZipRecruiter. Are you hiring? Posting your position to job sites and waiting and waiting and waiting for the right people to see it.

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Back to the pod. Apex Mountain, too early to say, because it's only been a year since the movie came out. We cannot put it in the context. I find it hard to believe Jordan Peel is going to top this, but I'm anxious to find out. Coming off Keen Peel and then does this movie and he's nominated for an Oscar and might fucking win. If he can top that, congratulations to that, dude, man.

But can we, let's talk about Apex Mountain in a different way then. Okay. Like, he's going to other people's mountains and, and messing with both, right? Like, okay, the, the, the, the, the genesis of the idea. for the movie might have come from Delirious. But, I mean, what he's actually doing is doing the thing that nobody's really successfully done, which has challenged the conceit

of guests who's coming to dinner, right? A movie that at the time, lots and lots and lots and lots and lots of people thought was, I mean, no real radical thought it was radical. But for the movie, for Hollywood in 1967, it was radical. It's funny to hear that it was so groundbreaking because when you watch it now, it seems so tame. But apparently he really was growing up. Well, even back then, people were like, well, this motherfucker is perfect.

Yeah. And he's not out in the streets. He's got 19 degrees. And he's like 30 years older than their daughter. Right. Like, he's not fucking her. Right. So he's perfect.

He has no dick. I feel like the thing about the, but nobody really took the movie on. as a movie based on other people's filmmaking, right? Like every other movie about interracial relationships basically took the same, had the same sort of progressive belief in them and wanted every time you see her interracial relationship in a movie, it is celebrated, it is fought for.

This is the only movie I can think of that presents interracial relationships as a disaster. Yeah. As a disaster way to happen and not in a, in a, like, a Chris Rock, Kevin Hart routine right way. This is this, this movie is the realist relationship movie, interracial relationship movie I've ever seen. What do you think, Cam? Yeah, I mean, thinking back to the translation of the Swahili, like, listen to her ancestors is so loaded.

Yeah. It's really loaded. Better listen. Yeah. I mean, they might have told you a date of white girl, but you just should listen to the ones they pick for you. Unintentional comedy award. There's really none in this movie.

It's really well done. Unintentional comedy? Yeah. I mean, there's some funny stuff with the, with the fact that the dad and the son are the ones doing the surgery. Like, is this crazy loser son? He's the anesthesiologist.

Like, that's he and has some holes. At one point, this big red thing just plops and the thing. I don't even know what it is. Is it a brain? What is it? It just, they kind of fly by that part. Well, I was going to say we haven't talked about the coagula and all of that. Essentially, like, the exposition machine that the movie drops in the back third of the movie where Chris is seated in this leather chair.

And he gets, you know, the 1984, like, sex education videotape of the family explaining what they're about to do, which is very clever and well made, but also pretty dumb. And doesn't need to exist. And why would you ever create evidence of this thing you're going to do? why would you connect Chris to the person who's going to take your body? Like all of that stuff is elegantly delivered and fun. But if you examine it under a microscope, it's not. Maybe they had figured out through trial and error that it was better for the person to have a connection when his body gets invaded. Maybe.

So you're saying you don't like that the guy who steals his body has a conversation with him. I don't dislike it. It's just, I know it's just, it's moving. It's movie bullshit. You know, it's just there's, in movies have to have bullshit. where they help you along in the story, especially there's a lot of viewers need to have their handheld at times. And for a movie that works really hard to be subtle and clever

and it's grappling with these really big and interesting ideas, it's a moment where I'm like, okay, like especially watching the second time, I was like, I kind of need to know why they would make this video explaining the process. Yeah, you know what's interesting is that I, this is to your, I mean,

this is to your question about like what Jordan's going to do next. I guarantee you Jordan's next movie is going to have none of that. I think that he is so heartened and exhilarated by the life of its own, the stuff in this movie is taken on, like the sunken place. Yeah, he'll tweet sunken place stuff. Like he's definitely, he's feeding the beast on that. Well, I mean, I just feel like people get his metaphor. Yeah, I agree.

And I think that if he had, I think, I think, there's a version of this movie where if he had known that there was, I mean, he knew there was an audience for this, but if he had known that there was an, there was this much of an audience for it, where like people would be close

reading his movie over and over and over again, I think Coacula is presented differently somehow. This is why I'm excited to see what he does next, because I think he's really, really smart and is learning for

from this experience about what a movie can get away with. Well, that brings us to picking nits. I'm going to pick a couple nits. Okay. Didn't we just kind of do that? That was my biggest one. You've got more. A camera flash can undermine this whole get-out thing.

They didn't figure that part out in the trial and error. Just one camera flash. It's also the kind of the movie BS thing. You've got to have these little moments where you're indicating. I'm picking nits. I'm not complaining. I can explain that. The brother recovers really fast from the botchy ball concussion.

and the blood pouring out of his head. In the NFL, he's not allowed back in the game. Like, he's in the blue tent. They walk him off. He's easily, he's not, you know, he's, he's indestructible. I mean, he did lose like five pounds of blood. It's Glenn Close coming back to life. Now this happens.

What were the surgery protocols in Dad's house there? He's switching heads, switching brains, he's carving stuff out, who's doing the anesthesia, how healthy is it? it? Is it sanitary down there? Who's cleaning up after? You know? A lot of questions. I...

There's a lot of questions. Can I just say one thing about that, though? Yeah. This is going to sound awful. And I just, I watched that and thought, yeah, white people got it. They just, they just, they must know. They just know how to change their place. They just must know.

Would, uh, would those two small pieces of cotton have really blocked Chris's ear? I'm going to say now. Of course not. It's a tiny, tiny cotton. I mean, you really need to jam it into that here. The metaphors of this movie are so good. Come on. I'm picking Nets.

How old is Rose in this movie? Huh. What's, you could tell me 29? You can tell me 20. How old is he supposed to be? This is a great question. Good question. I think the arrested development of both of the kids is a really fun thing.

I like to think of her as like 35, you know, that she's been having at home for her whole life. She's still eating fruit loops. She's a total ding bad. It listens to the dirty dancing soundtrack alone. I love the scene too, and she's talking to Rod on the phone, but her facial expression doesn't change. You know, she's clearly they've shown that she, like, stopped at some point.

So she's like 29? Could be. Because she had nine relationships, even if that's like three, four months apiece. Yeah. Well, this is, I mean, I was thinking about that too. Because this is a project, right? Like, you have to rope in these guys. Where does she meet them?

How did they meet as a thing that I was going to ask? She Googles the best NCAA prospects, which is what funny is that. But that was her best move, though. Right. But if she's probably Googled best black photographers or something like that. Black artists. Right. So if she's Googling best NCAA prospects, she can't be older than 26, 27. Because no college sophomore is dating a 29-year-old.

If they don't ask for ID, I'm going to say 27. One of my great shames is how appealing I find Alison Williams. You never know. You never can tell. Great shame. I think she's a complicated figure. I'm the odd man out on the visceral aspect of Allison Williams appeal, but please discuss great shames. Well, because she takes, the whole girls cast took a pretty big beating.

Yeah. I mean, Allison Williams is a good actress and she proved in this movie. She proved in girls. She's good and girls. The reason I hate Marnie is because she's so good. She's a good actress. Yeah, she is. Would this movie have been better with Danny Treo?

That's one of our categories. Now, the answer is oh, is yes. I lost his mind. No, that's one of our categories. The answer is always yes. I just didn't know whether or not it was going to apply to this one. I think he's at the party. Yeah.

Okay. I think he's one of the couples. He's maybe he needs a new eye. I think he's sunk in then, too. I just feel like if Danny Traio was not getting up in this. Would he be the cop in the beginning maybe? It's just a different movie. He just like,

Listen, Danny Treo, the movie's always better with Dana Trao. So just answer the question, what parts you're playing? But it's also always different. Okay. Could he be the guy who says... It's the conclusion of other people have reached on this show, by the way. Could he be the guy who says the pendulum has swung back and black is now in fashion at the party? That guy with the weird, weird handlebar mustache.

He has a handlebar. I mean, he is... There is some affinity between the blacks and the Latinos. I'm just sorry. There's no way... Maybe he's in the police station for a second. Yeah. Or maybe he's Rod's buddy and TSA.

It's also important. Other guys, Japanese, not like Asian American. Like, so Asian American is going to, well, not no Asian American. But, like, it's inconceivable to me that, that Asian American would be is down with this as that Japanese guy. Best quote. Here are your choices. My dad would have voted for Obama for a third time if he could have. No, no, no, no, no, no, no.

Get him, grandpa. Or I'm TSA motherfucker A. Or T.S. motherfuckering A. Best quote, memorable quote, to find a quote. I think it's a TSA. Could be no, no, no, no. It's one of those two.

Get him, grandpa is really fun, though. My son yelled that at me the other day, which also tells me he might have watched this movie too many times. Oh, Cam's, it's percolating over there. I can't get past Betty Gabriel. No, no, no, no, no. She's the big winner of this podcast. Yeah, I mean, but also to Sean's point,

Tatletale. The way she says that is remarkable. Yeah. I like give me those keys, Rose. That's a good. That's true. Yeah. That's a good one.

I like that. All right. I got four unanswerable questions. Number one, was this a thriller or a horror movie? Believe the phrase he uses his social thriller. That's the Jordan Peel phrase. Yeah. I don't think it's a horror movie.

Hmm. I was just talking to Julie. The horror movie is like saw. Yeah. I don't. What's Rosemary's baby? Thriller. Sounds so lame.

He's a horror. I think of fatal attraction as a thriller. and Rosemary's baby as a horror movie. Because Satan sex is like her hard. I mean, but this is why Jordan's like coining of a term or acceptance of a term or application of a term to his movie is great because Rosemary's baby is also a social thriller. Right?

And Fatal Attraction is also kind of a social thriller. Yeah, when you were talking about the nods that he's made to filmmakers, I feel like the biggest nod in this movie is to Ira Eleven, who wrote Stefford Wives and Roads from Brazil and Rose Mary's Baby. Like those books have the same thing where there's this great big metaphor around the book, plus all these little tiny nuggets sprinkled throughout the books when you're reading them. Like if you're 18 and you read those books,

they're mind-bending. And then you find that all of his books were made into movies because they all are perfectly cinematic. Like, it feels like he's working off that playbook so much. Did Rose live? You could argue she did. I mean, did she live? What does that mean?

Did Rose live? We didn't totally see a guy. Oh, yeah. I think Get Out Two happens. I think Get Out 2 is it works Oh my God If there's Get Out 2 I'm getting out of the country

I That can't happen You're blur about the movie posters No seriously Get Out Don't do this He's just got better stuff to do I mean

This is the guy who understands Everything that's wrong With the movie industry The idea that he would make a sequel To a movie that needs no sequel Well Rose didn't die I like the idea Why do you need her not to die?

She didn't die. I'm just pointing out she didn't die. I don't think Kilmonger died. She laid on her side. She looked up and her eyes were kind of open and it seemed like she might have died, but she didn't totally die. Well, who came to get her? She's saying she didn't die. She in so many ways reminds me of the liquid dude from Terminator 2, but I'm actually going to say that shooting her with a shotgun does not kill her.

She made her stronger. Yeah. Keek and Michael Key couldn't have played any of the people at the party? Couldn't have a cameo? No. I'm worried about those guys. Again, this is your Danny Trail. She wore him in.

What is Keegan do in this movie? He could have been one of the older guys who's already been brainwashed. He could have been, but he throws the whole thing off. He would just throw it off. Did Chris ever date another white girl? Wow. There's your sequel. Wait, wait, wait, let me.

I take it all back. I take it all back. I take it all back. Holy shit. Get in. Get in. Chris dates a sister. Oh wow.

Get in. And Samuel L. Jackson is the fire. Get in. Get in. I love it. Great. Who won the movie? I mean, Betty for me.

Wow. Really? I'm stunned by that. A discovery for me. I love a discovery. I mean, I love a lot of people in this movie. I love a lot of things about it. But for me, nothing really works without her showing me in one shot.

how the entire psychological fucked upness of this is happening in one person. Sean? It's got to be Jordan Peel. He went from being a guy who people saw in the football players introduction sketch in Key and Peel to one of the five most anticipated filmmakers in America. That's also my answer. I love Betty Gabriel, though. America won.

America. Oh, great one. America won. Like where you're going. Because there's a version of this movie. that comes out, you know, February 26th or whatever, the end of Black History Month, by the way. And nobody goes.

Nobody sees it. It makes $5 million opening weekend, makes $2 million second weekend, has a perfectly fine life streaming. And every once in a while, somebody will walk up the Jordan Pee and be like, you know, I saw it get out. I don't know why nobody saw it. It's just too bad. But it's really good, though.

And he's, like, heartened. He's like, thanks, man. Thanks, I really appreciate that. Because it happens. How many great movies did people just not get, and you have no idea why? I think Black Panther doesn't happen in a weird way without Get Out happening.

I think it primed the pump and gave studios confidence and belief. Black Panther would have happened regardless of whether or not getting. out got made. But I actually really believe that the black enthusiasm and black belief and understanding in that movie, it's just, I mean, there's just no precedent for the kind of support paid a movie like that in the sort of, with the endurance that it was paid. I don't think it gets to the Oscars without that audience. I don't think it wins any of the awards, Jordan's

one without that audience. And I think the movie respects the audience to understand where it's coming from enough for there to be this total experiential synergy happening. And I don't know. I hope it gives other smart, brave, interesting filmmakers the confidence and belief. And the studios, the belief to believe in those filmmakers. I don't know. I just, I feel like...

Good luck topping that, Bill. I think Jordan Peel one, but I liked all the answers. It's a great movie. We were talking last night. Sean and I were at dinner last night, and we were talking about how great Goodfellas is and how we almost don't want to do the rewatchables because it could be four hours long.

And one of the reasons it's so great is that every single moment of it is great. It just goes from one scene to another, and then the next scene is like, oh, I love this scene. And then it's the next one. It's like, oh, I love this scene. It is like, get out isn't like on that level, but it's pretty close from a rewatchable thing. Okay, first of all, Bill Simmons.

Yeah. That is Martin Serocesee's what? 10th movie? 11th movie. Oh, yeah. No, I'm not putting down Jordan Piel. It's 25 years in his career. I'm saying what's cool about get out.

Just I'm saying wait, wait. But as a roller coaster ride. Yeah, yeah. It has that same kind of feel or it's like, this is, I'm just enjoying myself. This isn't dragging. We're just going. I like this character. That's cool.

Well, where are we going now? And it just keeps going. We're in a moment where it's very dumb and easy to say that something is instantly iconic. It's overused over and over and over again. But I remember when Cam reviewed the movie for the site, and I was like, it was probably the only time that I didn't read the piece before I saw the movie. Yeah. Because I knew that there was a moment coming. Everybody that I knew who worked in Hollywood, who wrote about movies was like, Jordan Peel got one.

This is like, this is a thing. He's going to be a thing. This movie's going to be a huge hit. People, no one's going to see this. coming. And as soon as I saw it, and then right after I read your piece, I was like, this is like an instantly iconic movie. You hit on it in the first moment that you saw it.

And then I feel like we had a lot of conversations about the movie immediately afterwards. I don't know if you and I ever discussed it. But it's very rare. Well, we did, but in a roundabout way after the Oscars last year. Right. I don't know if, I don't know if something like Phantom Thread, which I love more than Get Out, but it's not the same thing. There is a canonical thing that happened with get out.

But you know my theory in this. I think the hardest thing to do is to make a great movie that reaches a lot of people. That is the single highest degree of difficulty you have. And it's the same thing with music and same thing with writing, whatever. And this movie did it. I'm with you. I think it's, this is why I think it should win best picture. I think this is the movie 10 years from now that will matter from 2017.

I really do. And I think we're going to feel stupid. stupid 10 years from now that it didn't win. The fucking Shape of Water is going to win 10 years from him. I'd be like, what the fuck was that? It would be a very Oscar. I'd already like that. It's going to take 10 years.

Wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, you guys, first of all, this is not the three, this is not, sorry, I almost say three billboards. This is not the shape of water show, but we have to take a second to think about, like, how weird that movie really. I agree. I agree. I don't think it's, I don't think it's, I don't think it's great.

But it's, great. No. But the artist, the artist, the artist wasn't weird in the way that the shape of water is like brilliantly weird. Great. And I'll never watch it again. I think of the shape of water, though, in similar terms to a movie like Crash. And I don't think it says it's better than Crash is more significant. It's certainly better than Crash.

But Get Out and the themes of Get Out and the metaphor of Get Out is more subtle and clever. And the themes and the metaphor of the shape of water are on the new. knows and obvious. And they are, they're, they're dumber. And that is a choice that the academy tends to make historically. They tend to lean towards the movie that is a little more obvious. And that's the thing that I keep coming back to as we talk about this. I think Moonlight last year made me think anything's possible to Oscar.

Wait, we can't leave this conversation, by the way, without finding out who director number five is, by the way. It's Jordan Piel. No, who, I'm sorry, who, okay. Who's nominated? It's Lee Daniels. Lee Daniels. Lee Daniels.

Oh my God, my favorite director in the whole world. How can I forget? Lee Daniels for precious. I can't believe that. I thought he was nominated for Precious. Yeah, Lee Daniels. Oh my God. Lee,

I'm so sorry. Spike Lee not given nominated was actually like almost criminal. It's ludicrous. It's crazy. Not being nominated for Dever. That's a top eight Oscar Travis. For any number of movies,

but definitely. Well, Kim Basinger did try to get it for. Remember that? Mm-hmm. There is one movie that's not nominated here tonight. Yep. And I just want to say. You know how you do your going back in time and putting the current cultural lens on a movie that came out a while ago?

Yeah. It's time for higher learning. Oh, wow. Which I've not seen since. Every single theme in that movie is a relevant theme in 2018. And it's like 24 years ahead of it. And does it really clumsily, but it's interesting. It's like 1999.

Yeah, 95. Wow. Yeah. So it should be your next movie after. That was another one where people were. just like losing their minds in a theater, but not in a good way. No. Anyway.

I love the idea of ending a get-out podcast with higher learning. With an assignment for Ken? Yeah. The assignment for Kim. We've come so far in America. You can read Wesley Morris in the New York Times. It's my old Grantland teammate, my buddy, Sean Fentinator and Chief of the Ringer. He's been writing a lot of movies stuff this year. I'm proud of you.

You're the hardest working man in show business. Cam Collins. Our dude. He writes about movies for us. He does all kinds of things. More podcasts from you, hopefully. We just have to fly your ass out here. Yeah, all the time.

We have to fly your ass out here and just sit you in a couch. Co-hosts the damage control. Listen to damage control. Yeah. Every other week. Channel 33. Eventually it'll be every week. Sure.

You're getting there. We're working out to it. Yeah, all right. Thank you, Zach Mack. Thanks to everybody. We're coming back next week with Creed because it's time to do it, so watch that until then. Thanks so much to ZipRecruiter.

Don't forget to try out ZipRecruiter at ZipRecruiter.com slash rewatch. Thanks so much to Shutter, brought to you by AMC Network Shutter, a premium streaming video service for fans of all degrees of thrillers, suspense, and horror with an unparalleled lineup curated by genre fanatics and industry experts. You're going to want to check this out. Plan start at just $3.99 a month. Rewatchables listeners can start a free 30-day trial by going to shudder.com using promo code rewatch.