Get Out
4 Palm Trees out of 4
by Manuel Reynoso

Written and Directed by Jordan Peele, starring Daniel Kaluuya, Allison Williams, Bradley Whitford, Caleb Landry Jones, Stephen Root, LaKeith Stanfield and Catherine Keener.

Black photographer Chris Washington (Daniel Kaluuya) travels to the suburbs to meet his white girlfriend’s affluent parents. What starts as an awkward family get together quickly becomes far more insidious.

Jordan Peele’s directorial debut was stronger than I would have anticipated. To be blunt, I was never huge fan of the sketch show Key & Peele. So coming into Get Out slightly skeptical, I was pleasantly surprised how strong of a debut Peele has made with Get Out. It’s funny, scary, provocative, and at times, far too real. As difficult it is to swallow, Get Out brings to light the struggles of being a black man, in a white world.

For his first major motion picture directorial debut, Jordan Peele clearly already has a distinct style that lends itself very well to the thriller genre. He’s set up how ominous an otherwise docile suburban white family was in very clever ways. While letting striking imagery lead up to a very intense climax. Jordan Peele has definitely shown he has the chops to direct a major motion picture.

Peele’s Screenplay is where is strongest talents lie. Incorporating the black experience into an engaging mystery thriller with equal parts horror and comedy is absolute gold. The film twists and turns, terrifying us one moment, and making us laugh at loud the next. But Get Out’s biggest strength is in its pacing. The constant feeling of escalation and tension is so organically paced you will not notice yourself inching ever closer to the edge of your seat the whole time. Despite the constant escalation of dread, the comedy aspect never breaks this tension. Instead it is welcomed respite, saving you from becoming fatigued from the continuous tension.

The political nature of the screenplay was provocative and edgy, sadly I do believe it lets up on the political side of the film towards the end. Peele opted to have the climax be more intense and action packed, which while has its own strengths in the film, just left the political nature of the film feel a tad glossed over.

Outside the wonderful script, I would sum up the rest of the film as solid. Nothing else stood out as exceptionally praiseworthy. Daniel Kaluuya performance as the lead was definitely good but nothing I found all that exceptional. Cinematography was utilitarian, while the camera work presented the scenes nicely, I felt it could have better complimented the film’s striking and engaging imagery. I’m not putting down the film with these observations, just noting the film was not particularly exciting in these other aspects

Peele has made his intentions to create more films based on social demons loud and heard. And I for one am looking forward to these films very much. Get Out was very clear in it’s purpose to add a black perspective to the thriller genre. So if Get Out accomplished anything at all, it showed the power of storytelling from a perspective frequently ignored in mainstream media. And I for one want to see more.

1H44M rated R

by Shirley Lorraine

Faith vs fantasy disputed in Agnes of God

Reality and fiction collide in John Pielmeier’s compelling drama Agnes of God now playing at the Elite Theater in Fisherman’s Wharf, Oxnard.  The story centers on a young postulant, Agnes, who gives birth in a convent. She denies knowledge of having done so and of even being with child. She is accused of murder when the newborn is found discarded. A psychiatrist, Dr. Livingstone, is engaged to explore her mental state to stand trial. Conflict arises when the Mother Superior disagrees with Dr. Livingstone’s methods of inquiry.  As details unfold, the layers of denial, concealment and complicity raise more new questions than answers.

The trio of actors rise to the challenging material with confidence. Agnes, played to angelic heights by Abbe Fralix, is clear of voice and portrays inner strength beyond her years. The clarity in her singing voice is amplified by the simple and effective staging.  Initially it was a bit jarring to have no introductory music. However, once Fralix began to sing, the nuance became understandable.

She is well countered by Lynn Van Emmerik as Doctor Martha Livingstone, a court-appointed psychiatrist whose own internal entanglement in the complex story causes her to examine the motivation behind her personal desire to search out the truth, no matter how painful.  The Doctor’s lack of religious conviction battles with the equally strong beliefs held by the Mother Superior.

Giving stoic humanity to the beleaguered Mother Miriam Ruth is Celeste Russi.  Russi’s performance is simply riveting as she fulfills the roles of mother, protector, friend, confidant, savior and defendant to Agnes. She has her own reasons for discouraging Dr. Livingstone digging to the bottom of the mysterious issue. Conflict upon emotional conflict arises as the story deepens.

A dramatic staple offering for many community and regional theaters since the early 1980s, director Tom Eubanks has enthusiastically chosen to direct the play for the third time in his career. He states that it brings out new meaning and insights for him each time it is staged. This production clearly shows the depth to which Eubanks has asked his actors to reach. In response, all three deliver solid performances.

A bare-bones stage setting gives the actors and the audience alike additional opportunity to be fully immersed in the material.  Light pools are used effectively for accentuating thought or time changes. Costuming is on point. Both nuns appear comfortable and at home in their habits, moving about easily in the voluminous folds of fabric.

Agnes of God does present questions relating to faith, belief and love. However, the material goes beyond religious boundaries to explore emotions and coping mechanisms common to humans of all levels.

To be sure, it is not an uplifting evening at the theater given the sordid and sobering subject matter. But, knowing that going in, it is well worth attending. Agnes is a deep work that is mesmerizing, especially in that it is so well staged and performed. The intricacies are disturbing and not appropriate for children.

Agnes of God runs through April 2. Friday & Saturday eves 8 PM, Sunday matinees 2 p.m.  General admission $20. Seniors/Students/Military $17.  Reservations are encouraged 483-5118.  Elite Theatre Company, 2731 Victoria Avenue, Oxnard   www.elitetheatre.orgATRE