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Annie Hall (1977)

23 Jun

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Let’s address the elephant in the room first: Woody Allen’s “Annie Hall” won the Best Picture Oscar instead of “Star Wars.” There’s not much I can add to that, so let’s move on.

Well…maybe there is. I’m not going to act like I can’t understand why “Annie Hall” took home the award instead of the ever-popular “Star Wars” (which is one of my favorite films, so calm down). “Annie Hall” was more than just a typical romantic comedy. Hell, it was the 1970s, when typical romantic comedies were the rarity until the 1990s, when “When Harry Met Sally” set a new standard in 1989…thus resulting in the “typical romantic comedies” I can think of, now that I think about it…

Where was I going with this? Oh yes, “Annie Hall.” It was more than just pure comedy. Sure, there are funny lines of dialogue and many unusual comedic sketches (such as a cartoon sequence, fantasy journeys through time and daydreams, and constant breaking of the fourth wall), but considering all of it as the mindset of the narrator, Alvy Singer, played by writer-director Woody Allen, the film is more than a comedy and more like a bitter exploration into his psyche. In that respect, while “Star Wars” was the most fantastic, inventive and fun movie of 1977, “Annie Hall” might have been the smartest and most insightful.

“Annie Hall” represents the pure use of comedy I admire—if done well, comedy can allow audiences to get a real feel for the characters. Comedy can set you up and draw you in, and before you know it, you’re learning more about the characters and also learning from them as well.

If it wasn’t clear from Woody Allen’s films prior to this (“Take the Money and Run,” “Bananas”), Allen is a sad, sad man. The questions he has about life lead to a non-stop pursuit of answers, he has a very low opinion on many aspects of life and existence, and it’s probably fair to say that his therapy in getting through life is by creating characters to live through and writing jokes; first for standup, then for cinema. (Allen has since made quite a few dramatic films later in life, and while jokes may not be a primary focus in them, the way he lives through his characters certainly is.) With “Annie Hall,” written and directed by Allen, the public got a pretty clear picture of Allen’s personality and how close his character of Alvy Singer is to the actual Allen.

Alvy, a comedian, has a very low opinion of himself. As the film opens, he addresses the camera with a couple jokes—one about how short and pointless life can seem and another which is attributed to Groucho Marx: “I would never want to belong to any group that would have someone like me for a member.” All uphill from here, eh?

The film is essentially Alvy’s recollection of previous relationships with women, particularly the one he had the most fondness for: Annie Hall (played by a fabulous Diane Keaton, who won an Oscar for the role). He tries to understand why he and Annie broke up a year ago, and we take this journey inside his head, figuratively speaking, experiencing memories and fantasies (all in non-linear fashion, by the way). We even see the source of his melancholy at a very young age, when he read as a child that “the universe is expanding” and often questioned his mother about the point of existence.

Alvy recalls many pleasant times with Annie, more so than with his first wife (Carol Kane), who disagreed with him about his thoughts on the JFK assassination (maybe Allen felt better when he saw Oliver Stone’s “JFK”), or his second wife (Janet Margolin), a writer who was unable to get an orgasm. Annie talked a little differently (“la-de-da, la-de-da, la-la, yeah”) and dressed a little differently (with a wardrobe that started a trend for a little while after this film’s release), but they shared many fun times with her: frantically trying to cook lobsters, making fun of men from her past, among other things. She feels a loving connection between the two of them, but when the two of them move in together, that’s when things start to get a little tense, leading to their breakup.

But it doesn’t stop there. From that point on, Alvy has bad dating experiences (and bad sex), he’s unsure of what to do with his career, and when Annie calls for him in the middle of the night, it’s to get him to kill a spider (“a spider the size of a Buick”).

Sometimes, the journey through Allen’s (er, sorry—Alvy’s) psyche takes detours. I’m not sure why they’re there, but I find them simply hilarious. For example, Alvy and Annie are standing in line at a movie theater and Alvy is very annoyed by the guy standing behind him and telling his friend about the works of Fellini and McLuhan and his opinion on them. What does Alvy do? He brings in McLuhan himself to talk down to the man, saying “You know nothing of my work!” Why is this there? I don’t know—maybe just to appease Allen’s annoyance of people who try to act smarter than they are, but it’s got nothing to with Annie, other than…she was there.

But then again, maybe this was never really about Annie after all. Maybe this was all just a way of making Alvy feel better about himself. That would also explain the scene in which he revisits his first-grade classroom (with 6-year-old Alvy there as well) and all his old classmates state what kind of adults they became. (“I’m into leather,” a girl states.) Is this a way of Alvy thinking to himself that he could’ve had a worse journey in life than ending up as a comedian? A way of making himself feel better? Could be.

“Annie Hall” is also somewhat of a love letter to living in New York City (something Allen recaptured in the arguably-better “Manhattan” two years later) as opposed to Los Angeles, where Alvy and Annie visit in the final half-hour of this hour-and-a-half film. L.A. doesn’t look very good here, and I think what Allen was trying to say was people in New York City think too much and people in L.A. think very little. Ouch. No wonder Woody Allen never attends the Oscars in Hollywood, despite his numerous wins and nominations for his screenwriting.

Basically, “Annie Hall” is all about Woody Allen. It’s his vision, his dialogue, his persona, his representation of how he feels about love and life in general. And amidst all the talk about how embittered he is about a lot of things and how unsure he is about himself (to the point where he can’t let good things be as good as they should be), there is a lesson to be learned by the end of “Annie Hall”: relationships can be painful, but they’re also worth the pain. He’s not telling us how to feel; he’s telling us how he feels. And maybe we can learn something from him in the process.

Dawn of the Planet of the Apes (2014)

23 Jun

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Summer 2011: “Rise of the Planet of the Apes” is released to theaters. I decide not to see it. “Really? What’s the point? We all know how it’s going to end.”

Spring 2012: I catch “Rise of the Planet of the Apes” on one of the satellite movie channels. To my surprise, it’s pretty good. I write my three-star review, stating one major problem I had with it: the ending. I write that the story grinds to a halt, obviously setting up for a sequel. “I guess the origin story isn’t enough to set up the events in the previous movies,” I wrote. (Though, in hindsight, isn’t it deliciously ironic to see a film where man’s defeat is the happy ending?)

Summer 2014: No, the origin story is not enough to set up the events in the other “Planet of the Apes” movies, for now we have “Dawn of the Planet of the Apes.” Let’s see how this one turns out… Well, that was one of the best sequels I’ve ever seen. I did not expect that…

“Dawn of the Planet of the Apes” is the seventh entry in the “Planet of the Apes” film series. (Actually, it’s the eighth, but who wants to acknowledge the 2001 Tim Burton re-imagining?) Frankly, I think it’s the best in the series by far. It’s a solid sci-fi action film, but it also works effectively in its dramatic and allegorical elements.

The film is set a decade or so after “Rise of the Planet of the Apes” left off, when a virus plagued humankind, leaving much to ruin. A band of humans lives as one in San Francisco and an ape colony lives in the nearby woods. The apes, now more advanced than before, are led by Caesar (again played with stellar motion-capture performance work by Andy Serkis), who recalls the good in humanity more than most of his followers who were caged and horribly treated by their human captors. None of the apes have seen a single trace of humans until one day, when a small group of the San Francisco survivors enter the woods unexpectedly. They attempted to pass through to restore the power grid. Caesar has learned to speak, and so the group’s leader, Malcolm (Jason Clarke), reasons with him for help. But the mutual cooperation unfortunately doesn’t last long, as members of both man and ape clash, leading to the beginning of inevitable war.

The allegories of hatred and prejudice are done quite well in “Dawn of the Planet of the Apes” without getting preachy or too heavy-handed. There are blunt points that are made, but for the most part, it’s handled efficiently with visuals, interaction, and just the right amount of dialogue that helps get the point across. It makes for an intruging tragedy amongst the blockbuster-expected explosions and gunfire. And what helps even further is the characterizations of both the humans and the apes—the personalities that get the most focus are fleshed out. There are some humans and apes that see a mutual connection—they include Malcolm, Caesar, a nurse named Ellie (Keri Russell), Malcolm’s son Alexander (Kodi-Smit McPhee), and a wise orangutan named Maurice. (I’m not gonna lie—Maurice stole my heart.) But there are many of the other human survivors and many of the other apes who share a mutual hatred for each other and would like nothing more to see them exterminated if only for their own selfish desires of annihilation. The humans that represent it are Dreyfus (Gary Oldman) and Carver (Kirk Acevedo), and the ape that stands for warfare is Kobo, who often butts heads with Caesar, who tries to keep peace by keeping humans and apes separate in the beginning. But tragically, despite the sincere efforts of Malcolm, hatred breaks free and everything starts going to hell. The parallels of human and ape are effectively done and help make this allegorical tale even more powerful.

Andy Serkis is once-again outstanding as Caesar, hands-down the best, most compelling character in the whole “Planet of the Apes” series. He’ll always be known as the king of the CGI/human blend of acting, and someone at the Academy should give the man a special Oscar for his work. With his work in “Lord of the Rings,” “King Kong,” and now the “Planet of the Apes” reboots, I’d say he’s due for Academy recognition. Exaggeration, you may say? I don’t think so.

Director Matt Reeves (who is also making the upcoming sequel, “War for the Planet of the Apes”) does a great job with the action and gives the audience what they crave in a summer movie, such as a lengthy battle sequence on the streets of San Francisco. But he’s also very efficient in the quieter moments, particularly in the first 15+ minutes, which show the home life of Caesar and the rest of the apes.

“Dawn of the Planet of the Apes” did something I didn’t expect it to do: it made me anticipate the next “Planet of the Apes” movie. Will “War for the Planet of the Apes” be just as good if not better? I don’t know, but I’m willing to find out. If there’s anything I’ve learned from “Rise of the Planet of the Apes,” it’s not to be cynical about a continuing reboot that comes my way.

Super Dark Times (2017)

30 May

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

I remember growing up in the country and hanging out at a friend’s house in the middle of nowhere. When there were no parents around, he would play with some weapons in the house—act like we were soldiers/warriors or something like that. Other friends would often be there and get involved too. Nothing bad ever happened and we felt we were being careful. But when I saw Kevin Phillips’ “Super Dark Times” at this year’s annual Fantastic Cinema & Craft Beer Festival, it made me look back on those memories and consider myself (and my old friends) lucky that we didn’t get hurt doing some really stupid things.

“Super Dark Times” is a coming-of-age psychological drama about the aftermath of a deadly incident between a few high-school teens. It’s a film that reminded me a lot of “Mean Creek,” an independent film from 13 years ago about how actions & consequences can have a lasting impact on young people. Both films are effective in reminding their audiences how dangerous and scary teenage life can be.

Set in the mid-1990s, “Super Dark Times” centers on best friends Zach (Owen Campbell) and Josh (Charlie Tahan); ordinary teens who engage in typical teen conversation, perform gross-out dares, and hang out with others who aren’t exactly their “buddies” but need other people to pass the time with. Two of them are a younger boy, Charlie (Sawyer Barth), and an obnoxious peer, Daryl (Max Talisman). The four find Josh’s older brother’s samurai sword and take it out to the woods to slice some milk cartons. But when Daryl’s harsh attitude leads to a confrontation, an accidental result of panic becomes fatal. Panicked even further, Zach, Josh, and Charlie feel they have no choice but to hide Daryl’s body and cover everything up.

Covering up the accident is easier said than done. While Charlie is relatively quiet about everything, Zach and Josh act differently from then on. Josh is having strange urges, mouthing off in class, and taking more risks such as stealing his brother’s weed and sharing it with peers. Zach gets much of the film’s attention as he attempts to make sure everything is OK, when it becomes clear that nothing about this is quite alright with him, as the guilt is starting to overtake him. Phillips does a very good job showing just how much this plight is affecting Zach, as he becomes more worried and paranoid, and even presenting a couple dream sequences for a more uncomfortable, nightmarish setting.

Things get even darker when it comes to how Josh is handling the aftereffects of what he’s done. And the less I say about that, the better…

The most heartbreaking scene in the film for me was when Zach’s secret crash, a classmate named Alison (Elizabeth Cappucino), is suddenly in Zach’s bedroom and makes a seductive advance towards him. This should be a happy moment, as Zach is realizing his feelings toward her are mutual and she’s IN HIS ROOM, but he can’t help but cry on her shoulder about the tragedy that unfolded. It’s a confusing time for him (a “super dark time,” if you will) and he feels nothing can be normal for him anymore. And he can’t tell anyone about what he’s feeling—not Alison, not his unsuspecting mother (Amy Hargreaves), not Charlie (who’d rather not talk about the incident), not even Josh (who copes with it his own way, alienating Zach). It’s a powerful moment.

“Super Dark Times” is more effective when it explores the theme of “loss of innocence” than when it delves deep into horror in the final act, as Josh’s mental state goes from questionable to dangerous. This is an unfortunate move on the part of writers Ben Collins and Luke Piotrowski, but thankfully, by that point, the central characterizations are strong enough (and the actors are solid too) that it doesn’t really damage the film. It’s a gripping film with a “super dark” viewpoint.

Walk Hard: The Dewey Cox Story (2007)

18 May

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Let’s just get this out of the way. There’s a penis shown on screen for what feels like too long for a mainstream comedy, which in this case is “Walk Hard: The Dewey Cox Story.” It’s an unexpected, uncomfortable sight, everyone’s gone crazy about it upon the film’s release, and it seems executive producer/co-writer Judd Apatow has an odd obsession with showing the male anatomy (either that or his sometimes-collaborator Seth Rogen is an influence; see “Superbad,” for example). There, I’ve addressed it. Now let’s talk about how awesome the rest of this movie is.

Remember the golden age of parody movies when you could make fun of tropes in a particular film subgenre while also pay homage to them? Movies like “Airplane” and “Spaceballs” are within that particular field. But unfortunately, many of the parody movies we know of nowadays are the ones that merely mention what’s popular at the time and put more emphasis and effort on that than story and humor, which both need to be the biggest factors. But then along comes a gem known as “Walk Hard: The Dewey Cox Story,” a film that makes fun of musician-biopic stories while knowing what it means to parody something properly and be entertaining along the way.

You know the formulas of many music biopics and how overly earnest the films are in painting the portrait of tortured yet successful musicians. “Walk Hard” goes through all the conventions with an extreme lampooning style.

John C. Reilly stars in oddly enough one of his very best roles as Dewey Cox, a marginally talented country rocker who comes from a humble Southern background, where he experienced a tragic occurrence that cost the life of his brother. (He accidentally cut him in half while the boys were having a machete fight. What makes the scene even more hilariously tragic is the fact that the boy is still alive briefly after being “halved.”) Dewey’s father (Raymond J. Barry) hates him (and is always grumbling about how “the wrong kid died”) and he lost his sense of smell. But he can play guitar efficiently and sing well enough to get attention of some people, which leads to more people, which leads to a following, which leads to fame, which leads to drugs, sex, all that stuff you expect.

“Walk Hard” has it all: A) the disapproving parent, B) the cynical first wife (Kristen Wiig, very funny) who always reminds Dewey he’s “never gonna make it” even though he’s already successful, C) the drug pusher (Tim Meadows, also very funny) who’s always telling Dewey “You don’t want none of this shit” and yet somehow always convinces Dewey that DOES want “this shit,” D) a second wife (Jenna Fischer, also very funny) who has her own struggles with him such as resisting her own sexual urges, E) the ups and downs of fame and fortune, even going through Bob Dylan/Brian Wilson struggles in music and creativity, F) rehab, and finally G) redemption with a heartfelt song about Dewey’s life as a whole. What else does it have? Surprisingly, there’s heart in the midst of all the zaniness. I think a good reason for that is John C. Reilly doesn’t merely play Dewey Cox as a running joke but as sincere as possible, which surprisingly works—it makes the jokes more funny and you care somewhat about him too. Dewey Cox is just so…sweet! It’s hard not to care for him. The film was directed by Jake Kasdan, who co-wrote the script with Judd Apatow, and it’s clear they have some affection for Cox…don’t say that out loud, reader.

Many of the songs are heavy on the double-entendre fueled lyrics, making them highly amusing, particularly the title song “Walk Hard” (a play on “Walk the Line”) and especially “Let’s Duet,” a duet with John C. Reilly and Jenna Fischer. Say this out loud: “Let’s duet in ways that make us feel good.”

There are many other funny bits I haven’t even mentioned in this review, including a recording scene that feels very similar Brian Wilson’s (of the Beach Boys) drug-induced creative state, a callback to the Bob Dylan documentary “Don’t Look Back,” and especially the cameos from comedic actors portraying famous past musicians. (I’ll leave it for you to find out.) “Walk Hard: The Dewey Cox Story” is consistently clever, very funny, and represents the man, the myth, the legend that is Dewey Cox in a way that would make him proud if he were a real musician.

Ridge Runners (2017)

7 May

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Recently, I saw filmmaker Hunter West’s debut feature “Ridge Runners” again (my third time seeing it at a film festival). At the Q&A following the screening, West mentioned how difficult it was to get the finished film out there, due to its content. The issue that takes center-stage in this tense dramatic thriller is a little girl as a victim of child sex trafficking.

“Ridge Runners” is a very disturbing film, and that’s not just because of the subject matter. In fact, none of the deeds associated with the central crime are portrayed on-screen (thank God). What is chilling and unsettling about the film is what is suggested throughout the film and what our protagonists (who are a duo of police detectives investigating the disappearance of a little girl) are trying to find out about. And there are some characters whose true colors are revealed late in the film—they truly made my skin crawl in the ways they explain what’s happening and why.

So, there you go—the film is well-made and very ominous, and the horrifying stuff is only implied. And yet it was a tough sell…think about that for a moment.

The message of “Ridge Runners,” directed by West and written by Austin Lott, is “Human Trafficking happens everywhere,” as stated by the film’s website (http://www.ridgerunnersfilm.com/) and a truly unsettling prologue (followed by a caption that states one in five human trafficking victims is a child). Our protagonists, police detectives Rachel Willow (played by Jennica Schwartzman) and Rob Shepherd (Austin Haley), discover this horrible truth upon investigating the mysterious disappearance of a 12-year-old girl. The more they uncover, the more horrifying the truth becomes. West reportedly was inspired to make this film because he heard of actual sex trafficking happening in his small town (and the film also takes place in a small town), and so he and Lott set out to make a film as a warning that this type of thing isn’t just an international problem or even a city problem—it can happen anywhere.

But it’s one thing to make a public service announcement about it; it’s another to make it work well. How’s the film itself? It’s essentially a TV-crime-show episode doubled in length and with arguably more detail in description (though not even that much). But it’s very effectively done, and the credit for that goes to West’s directing, Lott’s writing, and the acting, which also includes chillingly good performances by Charlee Graham as the girl’s mother coping with her daughter’s disappearance and Jason Thompson as her employer at a racetrack called The Ridge, among other fine supporting players. A good portion of the film is dialogue and performance, and while some parts are veering close to overuse of exposition (particularly early in the proceedings, when the girl’s mother is questioned by the detectives), it still works overall.

Some would say the film goes for the easy way out in the final act, but the outcome satisfied me, and I’m certain it satisfied many other festival audience members as well. I won’t go into it here, lest I give away potential spoilers, so I’ll just leave it at that.

“Ridge Runners” is an intriguing, effective and chilling tale about how evil can exist anywhere. And it wasn’t done in a preachy or overdone manner; instead, it was handled in a relaxed manner, more dignified than you’d expect with this material. The film is currently playing in festivals at this time, but it is now set for distribution. You can catch more news about that as it surfaces on the film’s website and also on Facebook: http://www.facebook.com/RidgeRunnersFilm/ It’s definitely worth checking out.

Chef (2014)

4 May

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

I admire the work of Jon Favreau. As an actor (best known for films like “Rudy” and “Swingers”), he’s fun to watch, and as a director (best known for films like “Iron Man,” “Elf,” and “The Jungle Book”), he comes across as a man who knows and loves movies. So, it was interesting to see a film starring & directed/written by Favreau and even more interesting to make comparisons to Favreau’s career within said-film…even if Favreau reports that these parallels are coincidental.

The film is called “Chef,” written and directed by Favreau, who gets away from Hollywood for a while to create this film independently. In the film, he also stars as Carl Casper, a passionate, talented chef who feels burned out from his job at a fancy L.A. restaurant run by pushy Riva (Dustin Hoffman). Carl works hard but isn’t given an opportunity to get creative, as Riva wants him to stick to the menu. But when a popular food blogger (Oliver Platt) pans the menu (and makes a horrid remark at Carl about his weight), this makes Carl snap. Upon getting a Twitter account and angrily calling the blogger out to return, his chance at redemption is ruined when Riva demands he stick to the menu or lose his job, and it’s made even worse when a video of Carl angrily confronting the blogger goes viral.

Carl is having trouble finding work, which leads to an idea from his ex-wife Inez (Sofia Vergara) for him to get his own food truck and travel across the country to serve the food he makes. Carl, Inez, and their 10-year-old son Percy (Emjay Anthony) go to Miami, where Carl got his start as a culinary artist, and manage to get a truck. Inez goes back home, giving Carl and Percy plenty of much-needed father-son time, as Percy helps Carl fix up the truck and cook & serve Carl’s food. As their relationship grows, Carl goes back to his roots.

So, let me get this straight. Jon Favreau (er, I’m sorry—chef Carl Casper) started out as a happy, independent filmmaker (er, culinary artist) making films (er, treats) such as “Swingers” and “Made” (er, Cuban sandwiches), but then he found success in California with “Iron Man” (er, as a master chef at a trendy eatery), only to make “Cowboys and Aliens” and “Iron Man 2” (er, predictable, standard menu options) and annoy film critics (er, food critics), and so he steps away from the Hollywood system (er, the L.A. restaurant) and decides to try something more like the days in which he started out, and so he makes an independent film called “Chef” (er, he gets a food truck and makes his own food the way he wants it done)…

Obviously, I’m not the only one to think “Chef” was an allegory to Favreau’s career as a director by going back to his independent roots after “Cowboys and Aliens” failed at the box-office. And even though Favreau has denied this comparison, it’s difficult to believe that Favreau didn’t have some part of that in mind while putting the film together at the start. I can’t help but think he wanted (and needed) to try something new, away from Hollywood, and he succeeded in making an independent film that is both funny and endearing…and also will make anyone who watches it hungry for Cuban sandwiches. (Seriously, don’t watch this film on an empty stomach—there are plenty of close-up shots of food being grilled, served, whatever.)

Favreau turns in his finest performance to date, playing a chef with the right amount of passion and devotion, leaving room for regret as he realizes he isn’t spending as much time with his son, who admires him. Speaking of whom, Emjay Anthony is perfect as Percy, turning in a natural juvenile performance. I buy the two as father and son, and I thought the scenes that deal with their bonding were well-done. The rest of the cast consists of big names all of which do well in smaller roles. Among them are the aforementioned Vergara, Hoffman, and Platt, but also featured are John Leguizamo who’s quite good as Carl’s friend and fellow kitchen master, Scarlett Johansen as a former co-worker/part-time lover of Carl’s, Bobby Cannavale as a sous chef, and Robert Downey Jr. in a very brief but funny turn as Inez’s (other) ex-husband.

“Chef” is a small film with big-name actors, and it’s entertaining, funny, and will make you hungry for some damn good food afterwards. And if you doubt this was Favreau’s way to take a step back before returning to Hollywood, just remember the critical/financial success of “The Jungle Book,” released two years after “Chef.” The man needed a break, and to make “Chef” was to make the right call.

Get Out (2017)

24 Feb

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

In the horror film “Get Out,” a white woman, Rose (Allison Williams) takes her black boyfriend, Chris (Daniel Kaluuya), to the countryside to introduce him to her family. They’re all accommodating, seemingly well-meaning white people who try to make Chris feel welcome, but something feels wrong. Things start off as awkward when Rose’s liberal parents (Bradley Whitford and Catherine Keener) and jock brother (Caleb Landry Jones) deliver one cringe-inducing (albeit benign) race-related comment after another. But when Chris meets the only other black people in town, he notices odd behaviors about them, which causes discomfort that only raises when the family’s friends gather at the house for a picnic…and that’s all I’ll say about “Get Out.” If you haven’t seen the trailer, just see this movie—the less you know about the story, the better.

That’s as much of the story as I’ll describe here, so I’ll just continue with the review. “Get Out” is the debut feature of writer-director Jordan Peele, best-known for comedic acting & writing, especially for the sketch comedy series “Key & Peele.” I’d say it’s an interesting departure for Peele to make a film like this, but then again, a good chunk of the first 45+ minutes of “Get Out” reminded me of a prolonged “Key & Peele” sketch, in which race relations (or lack thereof) is a factor and there is humor to be found in the sheer awkwardness/discomfort of one moment after the other. And the humor is also there to offset the more uncomfortable moments that leave audiences believing there is something wrong here but not knowing what it is, what will happen, when it will happen, and so on—to get to its ultimate final act, the audience has to endure one awkward moment after another as they try to determine what’s really happening here. The best way to relieve tension in these scenes is with laughter.

“Get Out” is a great mix of comedy and horror. It’s not downright satiric nor does it become overly serious; it’s just the right amount of both that entertains and also makes nearly every stomach in the theater churn. Peele is a bright-enough filmmaker that he’s actually able to approach the material with as much discretion as possible to make it work. He also doesn’t go too deeply into the subject of race relations and the pomposities and resentment that can sometimes come into play. He does have something to say about it all, but overall, it’s used to craft a unique story that I think Peele does a brilliant job putting together.

He gets great aid from his actors as well. Daniel Kaluuya is easily relatable as a man feeling out of place without knowing precisely why. Bradley Whitford and Catherine Keener as both funny and chilling, whenever they need to be each (or both). And I can’t neglect to mention the comedic highlight of the movie, and that is Lil Rey Howery as Rod, Chris’ best friend who is able to conduct his own detective work when Chris calls him via cellphone with clues. He provides the film’s biggest laughs himself.

What does all the oddness and awkwardness amount to? I won’t give it away here, but what I will say is much is revealed with effective twists, and while the final act may be paced a little too slow, I have to credit it for making me even more tense as I was A) waiting for answers and B) desperately wanting Chris to make it out the messed-up situation once those answers were revealed (and C) making me want to see the movie again, now that I have the answers). As is the case with the best slow-burn thrillers, I can’t wait to see “Get Out” again, knowing what I know now. And in addition, I also can’t wait to see what Jordan Peele comes up with next.