Get Out of here!
Low-budget horror film a surprise success at box office
NEW YORK — There have been monster gorillas and sharp-clawed superheroes at the box office this month, but the biggest beast of them all has been Jordan Peele’s $4.5 million, race-exploding thriller, Get Out.
In just 16 days, Peele’s low-budget selfdescribed “social horror” film has already crossed the $100-million mark. While Get Out, made by Blumhouse Productions and released by Universal Pictures, doesn’t match the hefty global totals of Logan or Kong: Skull Island, few films can touch its extreme profitability — or its firm grip of the zeitgeist.
And moviegoers have taken the advice. Get Out made $21.1 million in its third weekend, according to studio estimates Sunday, bringing its total to $111 million. Whereas most movies — especially horror films — drop considerably after opening weekend, Get Out has barely slipped. It dropped about 15 per cent after its first weekend, and 25 per cent after its second.
Get Out, which is the directorial debut of the former Key and Peele star, first led the box office the same weekend Moonlight won best picture at the Academy Awards. It also follows the spectacular success of the Oscarnominated Hidden Figures, which has made more than $160 million since its No. 1 widerelease debut in early January.
For those who still cling to the old stereotype that films led by black actors are limited at the box office, 2017 is making an already difficult to defend notion downright ridiculous. And Get Out has done it without a big name: It stars British actor Daniel Kaluuya as an African-American photographer whose white girlfriend (Allison Williams) brings him home to meet her family (Bradley Whitford, Catherine Keener).
The success of Get Out, says Paul Dergarabedian, senior media analyst for comScore, has been driven by its quality (at 99 per cent fresh on Rotten Tomatoes, it’s the best-reviewed film of the year), its capacity to entertain and its ability to remain in the conversation.
And audiences for Get Out have been notably diverse, with 39 per cent black, 36 per cent white and 17 per cent Latino on opening weekend.
In some ways, Get Out — where deep and violent racism is papered over by smiles and protests of liberal enlightenment — suggests the movie theatre is already a different place since before Donald Trump’s presidency. Peele conceived of his movie years ago as a rebuke to the Obama-era idea of a post-racial America, but many see it as an unusually timely film.
“Get Out shows how the public racism of (the civil rights era) has hidden itself by burrowing like a ravenous tapeworm into the bowels of America, growing fatter each year as it feeds off good intentions and bad faith,” Kareem Abdul-Jabbar wrote in a Hollywood Reporter column that calls Get Out “Invasion of the Black Body Snatchers era.”
The comedy website FunnyOrDie made even more direct parallels, recutting the film’s trailer to put Trump — who has defended himself as “the least racist person that you ever met” — in the father’s role and Ivanka as the daughter. It’s been watched by more than 3.6 million.