Tűnj el!

150 millió dollár az amerikai mozikban, kevesebb mint 5 millió dolláros költségvetésből? Jason Blum egyszerűen fantasztikus! És ez egyértelműen jön az új fekete rendezőtehetségek ideje. A Tűnj el! hangulatban közel áll Stephen Kinghez, és ha vezetése alatt készült volna, akkor az egyik legjobb filmadaptációja lenne. A pszichológiai horror műfaji sémája, amely oly intenzíven és merészen épít a rasszizmus érzékeny témájára, hogy hideg futkos a hátunkon. Tökéletesen, intelligens társadalmi rálátással rendezve, a szereplők közötti feszültséggel és a tisztán műfaji elemekkel (ijesztgetések, vizuális fortélyok által fokozott feszültség) működve. Ha ötletesebb lenne a befejezés, akkor a precizitás tekintetében Shyamalan híres trilógiájának szintjét elérő alkotás lenne. [ArcLight Santa Monica] (2017.03.30)

Good, but I think that it’s been way overhyped in America as a result of the racial tone, which resonates more across the pond than in here. What’s interesting, though, is that in the film itself, the racial lines are not that broad and the “raciscm” of the villains is rather superficial. What I find thought-provoking is the controversy about whether the villains make instruments out of the blacks simply because of racism, or because. in many aspects (at least in some cases), they consider them better. But I’m not sure whether that controversy is intentional or whether the script is not entirely clear on what it wants to say. The basic concept is pretty cheesy, certainly more than I had expected. There’s also less horror than I had expected, and more comedy. The comedic moments, in particular, were pretty irritating. I have nothing a priori against comedy elements in horror, but here they clearly disrupted the paranoid atmosphere (laughter doesn’t go very well with it) and, to my taste, the humour was very simple, though effective. Instead of that, I would have welcomed a broader explanation of the mechanism of what is actually happening to those black people, because the film addresses it only very roughly, to the point that it gave me a messy impression. And I was also slightly disappointed that it was missing a surprising moment. Yeah, the premise overall is original, but the plot moves within relatively predictable lines – I figured out the one relatively big twist ten minutes in advance. Things should have got moving after that, but instead, they were over pretty quickly. The comment may sound too critical, but that’s because I was really convinced I was going to see the best horror film in recent years. Not even by chance, but it is certainly a good film. Edit: After the second viewing my quibbles have disappeared. It’s awesome! The explanations of the events turned out to be enough and the second time you can really enjoy those little nuances in the performances that show that the whole thing is excellently thought-out. (2017.04.28)

The completely reversed view of racism caused that Get Out is one of the most interesting thrillers that I have seen recently. Racist hatred created a very strong story here – and it’s best that you know as little as possible about it before watching. That way, you will be really surprised and at the same time you will feel suspense with every passing minute, which will make your experience of the movie even stronger. On top of that, I have to add that Daniel Kaluuya made a very interesting impression on me. We’ll see what other movies he comes up with in the future. (2017.12.15)

I've seen a lot of poor horror movies lately that have been praised by American critics only because they were gender-progressive or originated in an exotic country and themed some form of oppression. At first glance, Get Out seems exactly like the "we have an explosive racial topic that someone has dealt with in all its explicitness" case, but from the opening scene Peele gives the impression that he is a) an excellent screenwriter who calmly turns a social metaphor into a grotesque slasher without the structure disintegrating, b) a director able to work with subliminal tension, which is guaranteed to escape the local horror experts, but certainly not an audience with a certain degree of cultivated attention to detail. The first third is a socially relevant metaphor for black masks, the middle builds tension, and the final acts offers peppery catharsis. Together, the acts make a film that is a more intelligent and serious reflection of racial identity for me than the whole of Moonlight. I was only bothered by a little superfluous ethereal music and a few places where you can see inside Get Out more than one would like. Otherwise, it’s great. (2017.04.27)

The film features excellent screenwriting and above all directing, with a strange white panopticon, a properly soaked racist mindset, and above all the insistent feeling of "what the fuck...?". The intensity, where you pray that the plot will keep moving and you will learn a little more, works mainly because the protagonist maintains a rational approach throughout and the plot never once allows him to slip into a genre crutch. Moreover, this is brilliantly caricatured by the character of the best friend, who both introduces and breaks down traditional creative practices by commenting on upcoming events over the phone. It's terribly simple and yet perfectly thought out and embellished in detail, a work of art straight out of a magazine. 4 ½. (2017.07.20)