What the corpus says about Get Out (2017)

You are a clerk at Video Culture, a video store. A customer just finished Get Out (2017) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Get Out (2017) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 1:48:36 · unknown (Alexander or Karaszewski) (0.40)] Parasite ↔ Get Out · theme · Parasite is smart social satire that slips easily into horror, which fits the episode's broader horror talk. · "it's smart social satire that just very easily slips into horror"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:04:44 · Alison Herman (0.90)] Juneteenth (Atlanta episode) ↔ Get Out · theme · Alison says it reminds her of Get Out in using white affluence to create dread, though Get Out is more visceral. · "it almost reminds me of get out, like using the trappings of white affluence to inspire this feeling of dread and discomfort"
[The Big Picture · ‘Resident Evil’ Absolutely Rips! · 0:53:33 · Chris Ryan (0.60)] Resident Evil ↔ Get Out · craft · Chris cites Get Out's opening lonely-road accident as a box-checking scary space like the film's opening. · "get out very famously, more or less opens with an accident like that on a lonely road"
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:07:16 · unknown (Alexander or Karaszewski) (0.50)] Us ↔ Get Out · contrast · Chris reads Us as a high-concept thriller rather than a horror film, a direction Peele seems headed. · "I didn't really think of us as a horror movie more so as a super high concept thriller."
[The Big Picture · Oscars 2019: Instant Reactions to ‘Green Book’ and the Two Warring Academies | The Oscars Show · 0:25:31 · Sean Fennessey (0.50)] The Shape of Water ↔ Get Out · contrast · Shape of Water won in a soft year because nobody was comfortable giving it to Get Out, Dunkirk, Lady Bird or Three Billboards. · "Nobody feels comfortable giving it to get out or to Dunkirk or to Ladybird, or even a 3 billboards."
[The Big Picture · The 2022 Movie Draft · 0:43:04 · Sean Fennessey (0.60)] Nope ↔ Get Out · career · Get Out is a neat, legible, pop statement while Us and Nope are messier with more strands, which Sean likes. · "The get out is such a complete statement. Like, it's a movie that is very legible."
[The Big Picture · The Oscars Schedule Changes, and Andrew Garfield On ‘Under the Silver Lake’ | Interview · 0:30:19 · Sean Fennessey (0.50)] Us ↔ Get Out · career · Get Out is the extraordinary debut and Us is the second-album film, so Us may get makeup votes. · "get out is the extraordinary debut and us is the, you had 6 months to make your 2nd album kind of film."
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:41:23 · Amanda Dobbins (0.70)] Get Out ↔ The Shape of Water · verdict · Any of Get Out, Lady Bird or Phantom Thread should have beaten The Shape of Water. · "3 options over the shape of water, get out, Ladybird or Phantom Thread, take your pick."
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:47:59 · Sean Fennessey (0.50)] A Quiet Place ↔ Get Out · verdict · A Quiet Place is a runner-up for 2018 but is not as good as Get Out. · "Well, I don't think it's as good as get out."
[The Big Picture · The Top 10 Fantasy Films, The Toy Movie Hall of Fame, and ‘Masters of the Universe,’ · 0:04:48 · unknown (Griffin or Sean) (0.40)] Obsession ↔ Get Out · industry · Get Out's single-digit second-weekend drop is the closest legs comparison, though that was a drop, not a gain. · "something like get out having a single digit drop in the 2nd weekend is kind of the closest comp to this."
[The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:57:21 · Wesley Morris (0.50)] Us ↔ Get Out · sophomore film · Us was held against Get Out and feels like an unfinished second feature full of ideas not yet coagulated. · "it feels to me like a slightly unfinished 2nd feature, which a lot of great artist 2nd features feel that way"
[The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:25:12 · Sean Fennessey (0.40)] Midsommar ↔ Get Out · voter perception · Aster won't get a directing nod again because voters see him as having done that already; Get Out was more pop. · "Get out was a lot more pop."
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:05:15 · Sean Fennessey (0.50)] Get Out ↔ Catherine Keener · people · Get Out has one of the best horror supporting casts, including Keener and Whitford. · "get out features one of the best cat supporting cast"
[pairs] Get Out ↔ Us · said 3 times in 3 episodes
[pairs] Get Out ↔ The Shape of Water · said 2 times in 2 episodes
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:46:54 · Sean Fennessey (0.60)] Get Out · fun · Sean calls it the best horror film of the decade and cites the sunken place as a shared reference. · "One of the cool things about get out was it becoming a conversation topic"
[The Big Picture · The Final Girl Film Canon and ‘Teenage Sex and Death at Camp Miasma’ · 0:55:08 · Sean Fennessey (0.60)] Us ↔ Midsummer · theme · Us and Midsummer are prestige films that actively explore what it means to be a final girl though not pure slashers. · "I think Danny in Midsummer really, really fits the bill"
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:04:44 · Alison Herman (0.85)] Eyes Wide Shut ⇒ Juneteenth (Atlanta episode) (the host's read) · lineage · Donald Glover's character describes the party as a Spike-directed reboot of Eyes Wide Shut. · "this is like a spikely directed reboot of eyes wide shut"
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:48:48 · unknown (Alexander or Karaszewski) (0.40)] Hereditary ↔ Midsommar · theme · Hereditary comes from Aster's ideas about childhood and parenthood, Midsommar from romantic relationships. · "hereditary is probably rooted in some of his ideas about childhood and parenthood and Midsommar is rooted in his ideas about romantic relationships"
[The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:24:07 · Wesley Morris (0.40)] Us ↔ Harriet · theme · Lupita's invented two-character performance was overlooked for Erivo playing a familiar enslaved figure, the lone nominated actor of color for a slavery role. · "They nominated one actor of color and is for playing a slave."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:08:37 · Sean Fennessey (0.90)] Juneteenth (Atlanta episode) ↔ Curb Your Enthusiasm · lineage · Sean ties the episode and Lemon's awkward comedy to Larry David's Curb. · "I was thinking of curb your enthusiasm and the way that Larry David would throw people into social situations that make you want to tear your skin off."
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 0:11:14 · Chris Ryan (0.70)] Jonny Greenwood ↔ Midsommar · craft · Chris describes the Midsommar experience as Ari Aster playing Greenwood's strings until his eardrums explode. · "Ari Astor stuffed me in a fucking bear carcass and played Johnny Greenwood strings in my, until my eardrums explode."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:04:26 · Sean Fennessey (0.90)] Juneteenth (Atlanta episode) ↔ Lemon · theme · Sean calls Juneteenth a sister to Lemon because both explore awkward encounters between privilege and non-privilege. · "it really makes Juneteenth a sister of some kind to lemon and that movie explores it as well."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 0:31:39 · Chris Ryan (0.60)] Midsommar ↔ Midsommar · craft · The cold open is Chris's favorite sequence for filmmaking expertise, even as punishing as it gets. · "just in terms of filmmaking, uh, expertise, uh, would be the cold open opening sequence of Midsommar."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:08:23 · Sean Fennessey (0.90)] Juneteenth (Atlanta episode) ↔ Lemon · craft · Sean says the tone of awkward comedy with high tension links the episode to the film. · "Lemon, though, is really, like I said, kind of related to it"
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[speaker] Alison Herman · latest sketch, The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · Loves Atlanta, Catastrophe and You're the Worst, especially warmth beneath the cringe. Cannot watch such scenes without muting or opening another tab. Notices staging details like low-angle shots. · stances: Juneteenth is the emotional climax of Atlanta season one; Cringe comedy works when partners share the embarrassment
[speaker] Amanda Dobbins · latest sketch, The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · Loves The Strangers' withholding craft and a good tense horror film without gore, but likes fun, communal movies like Mamma Mia. She dislikes supernatural or gory horror, which irritates her more than it scares her. She is a sucker for stars and for Googling a movie mid-recording. · stances: The Strangers is scary because of what it doesn't show or explain; Ending explanation weakens it; no answer would be better; Prefers 'withholding' filmmaking; Defends Mamma Mia as joyful and intentional
[speaker] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[speaker] Wesley Morris · latest sketch, The Rewatchables · ‘My Cousin Vinny’ · Loves Marisa Tomei, the grits scene, and the clothes; is a sucker for Fran Drescher. Dislikes car-driving-away endings and thinks the film has done harm by encouraging self-representation. · stances: Tomei deserved the Oscar; Race in courtroom movies matters, and this one is warmly integrated; The Nanny is basically Mona Lisa Vito
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Get Out (2017); name it the way the line names it. Don't recommend Get Out (2017) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.