Get Out, Jordan Peele's satire on 21st century race relations that had a sneak screening at Sundance in January, opened on Oscars weekend, topping the domestic box office with a $33.4 million haul. (It's now at $133 million domestically.) More importantly, it has a 99 percent favorable rating on RottenTomatoes.com — the best of the year so far, by far — and it would be at 100 percent had notorious contrarian Armond White of The National Review not dumped on it.
Indeed, the film has sparked media commentary of a quantity and quality similar to recent Oscar contenders that also dealt with race — including, of course, last month's surprise best picture winner Moonlight — with The New York Times' columnist Frank Brunicalling it "a movie for the age of Trump — perhaps the movie for the age of Trump" and his colleagues, Pulitzer Prize winner Wesley Morris and Jenna Wortham, devoting an episode of their "Still Processing" podcast to a conversation with Peele.
With the backing of producer Jason Blum (a best picture nominee for 2014's Whiplash) and Universal (a major studio which hasn't landed a best picture nomination since 2012's Les Miserables), you can bet that a lot of people will be working very hard to maintain interest in Get Out over the nine months before Oscar voters next get to fill out ballots — although nobody associated with the film would comment for this story.
For a movie this outside-the-box that has gone over this well, one cannot rule out a best picture nomination (although one usually eludes even more optimally timed genre films, excepting March 2014'sThe Grand Budapest Hotel, March 1996's Fargo and February 1991's eventual winner The Silence of the Lambs), and a best original screenplay nom certainly seems attainable. That may have something to do with why Academy members on both coasts received invitations this week to screenings of the pic.
Almost all major films, and quite a few minor ones, are screened by the Academy for Los Angeles-based Oscar voters at the Academy's Samuel Goldwyn Theatre in Beverly Hills or Linwood Dunn Theatre in Hollywood — except for those, like Get Out, that are released during the year's first two months, when the organization uses its screens to show its members the animated, documentary, foreign-language and short films that are vying for Oscars. But, in an unusually early show on confidence in Get Out's prospects, Universal has gone ahead and independently rented out the Linwood Dunn for a screening on Wednesday night, to which it has invited L.A.-based Academy members, and a screening on Friday night, to which it has invited L.A.-based BAFTA members. Additionally, the film will have an official Academy screening for New York-based Academy members on Tuesday night at the Museum of Modern Art.
Get Out Box Office
Forbes, March 19, 2017
"the overseas numbers for Get Out. The Jordan Peele "social thriller" began its overseas rollout this weekend, snagging $2.9 million in the first round of international debuts. In North America, the film again displayed amazing staying power, earning $13.24m in its fourth weekend falling just 36% even as it started shedding a few theaters here and there. That gives the $5m Blumhouse and Universal/Comcast Corp. release an obscene $133.1m domestic total. It's going to pass Split ($136.8m) as Blumhouse's biggest domestic hit and it will surely end up among the very biggest R-rated horror movies ever in North America, even adjusted for inflation."
From Forbes, Top 10 for the weekend of March 17, 2017, CLICK for bigger view
At our parent blog, 'Nother Brother Entertainment blog I wrote a review of the film. Read the review HERE