Scott is uncomfortable with Charlie from the beginning, but Annie likes him and feels sorry for him. In fact he’s very friendly and desperate to get them to buy it. But he’s just coming back from hunting, not pulling a gun on them, and there’s never any issue of Charlie not wanting to sell the family home to them because of their race. You definitely worry about racism when they first come to see the house and Charlie emerges from the woods with a rifle (and shoots a deer in front of them). In a post- GET OUT world I assumed there was supposed to be some kind of racial theme to it (maybe because they used a critic’s quote calling it “a reverse GET OUT,” whatever that means), but it may very well have been written color blind, because any racial tension there may be between the Howards and Charlie is not directly addressed – a completely legitimate and maybe even refreshing approach. This got a wide theatrical release from Screen Gems, and I remember seeing ads for it. In fact, it turns into kind of a CABLE GUY situation where he uncomfortably works his way into their life – they keep finding him, like, mowing their lawn and shit well after he was supposed to have moved to Florida. They buy it from Charlie Peck (Dennis Quaid, JAWS 3-D), who inherited and lived there his whole life and is very protective of it. The one they find is so old and fancy it has a name (Foxglove). ANNA) and Annie (Meagan Good, HOUSE PARTY 4: DOWN TO THE LAST MINUTE) Howard, who after a big deal goes through decide it’s finally time to buy a house in Napa Valley like they’ve always talked about. In this case the couple are Scott (Michael Ealy, MIRACLE AT ST. The 2019 film THE INTRUDER – not to be confused with the 1989 horror movie I like called INTRUDER (let alone the 1914, 1933, 1939, 1944, 1953, 1956, 1962, 1975, 1986, 1994, 1997, 1999, 2004, 2016, 2017 or 2020 films called THE INTRUDER) is a pretty good example of the classic American tradition of the domestic stalker thriller, specifically the subset kicked off by OBSESSED in 2009, that pit an upper class African American couple against an enjoyably over-the-top white villain.
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