After scoring one of the decade’s great critical and commercial successes with Jordan Peele’s “Get Out,” it’s no wonder that Blumhouse Productions doubled down on the low-budget “social thriller.” Their prevailing model that’s overtaken the genre has seen delights (“The Invisible Man,” “Nanny”) and duds (“The Hunt,” “They/Them”).
What felt freshly reimagined in 2017 has become somewhat rote as screenwriters all but baked the inevitable think-pieces into the scripts themselves.
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