Get Out is a terrifying satire about race that masquerades as a horror movie. The first time director Jordan Peele (half of the sketch comedy duo Key and Peele) takes the genre by storm with this cleverly original film.
Racism is scary, but not the blatantly offensive kind that screams “killer.” This thriller shows how casual racism can creep up on us.
The Story
A masterful mash-up of horror, science fiction and dark comedy, Get Out is both a riveting thriller and a profoundly affecting film that reveals just how much real-life racism still exists. First-time director Jordan Peele, of Key and Peele fame, delivers a racial satire that plays like a genre movie while still shocking and entertaining audiences.
Photographer Chris (Daniel Kaluuya) and his girlfriend Rose (Allison Williams) reach the meet-the-parents milestone in their relationship and she invites him to spend a weekend upstate with her family, which includes a doctor father Dean (Bradley Whitford) and hypnotherapist mother Missy (Catherine Keener). Though they say no one knows he’s black, their overly accommodating behavior suggests otherwise.
When things begin to go terribly wrong, it’s clear this is no ordinary household. Chris soon discovers that the affluent, seemingly welcoming family is secretly engaging in a horrific scheme of enslavement and exploitation, and that the parents’ kindly exterior masks a cruel, twisted evil.
Peele, who also wrote the screenplay, skillfully blends genre conventions with a socially conscious subtext that evokes The Shining, Night of the Living Dead, Funny Games and Rosemary’s Baby. He makes a convincing directorial debut, maintaining a steady balance of suspense and laughs with assured rhythms, camera placements and editing that avoid the pitfalls of cheap scare tactics. The performances are all strong, with Kaluuya delivering a standout turn as the terrified protagonist who is forced to realize that the people around him are not as benign as they appear.
The Cast
Get Out is a smart, quite funny, and startling picture that dives even deeper than you think. It takes the ludicrous paranoid fantasy of racism and makes it feel real, with an underlying truth that can’t be denied. The movie is brilliantly written, with some genuinely tense moments. And it is perfectly acted by all involved, with Kaluuya and Williams being standouts. The humor is also important, as it allows the film to state some of the brutal truths in an almost comedic way. And if you are lucky enough to watch the film in a theater, you will be able to see the reactions of the audience, which adds to the experience.
In this smart, creepy horror, Jordan Peele (half of the comedy duo Key and Peele) uses genre conventions to frame an exploration of racial tension. The film follows a photographer named Chris, who goes with his white girlfriend Rose to her parents’ suburban home for a meet-the-parents weekend. But Rose hasn’t told her parents that he’s black, and as the couple spend time with the family, they start to suspect that their overly accommodating behavior is part of some sinister plot.
The cast is impressive, with Daniel Kaluuya delivering an amazing performance as the lead character Chris. The rest of the cast is just as good, with the likes of Lil Rel Howery and Bradley Whitford adding to the overall creepiness of the film. Nyong’o is particularly striking as Adelaide’s double, with a voice that sounds like a rock record backmasking accident and an overall effect that is both wordless and Baffled Beast-like.
The Director
Get Out is an extraordinary debut for Jordan Peele, who writes and directs this satire/horror/science-fiction mashup. Using his film to explore racism in America today, the director handles the subject matter through character interactions and performance rather than overt moralizing. This approach keeps the movie entertaining and engaging, even as it raises important questions for audiences to ponder.
Daniel Kaluuya and Allison Williams (Girls) give outstanding performances as Chris and Rose, respectively. Their characters are well-developed and credible, with each showing an understandably complex series of reactions to their circumstances. The director also wisely uses humor to make his point, such as in the scene with Chris’s TSA agent friend (Lil Rel Howery). Humor is a great way to deliver an uncomfortable message without feeling like a preachy lecture.
The final act is a nail-biter that had the audience I saw it with on the edge of their seats. It’s a powerful movie that’s a must-see.
Get Out is an unnerving thriller that delves into racial paranoia and is one of the most subversive horror movies to come along in years. Blending race-savvy satire with horror to savage effect, the film captures the zeitgeist and makes a blunt political statement that will resonate in ways that more ‘prestigious’ films may not. It’s creepy, funny and pitiless, with a gnawing sense of injustice that will leave a lasting impression on audiences.
The End
Get Out is a smart, funny and terrifying film that explores racism and social commentary. It blends racial satire with horror to a very satisfying effect, and it takes the genre subverting to an entirely new level. This film is a must see for anyone who loves horror movies!
First-time writer-director Jordan Peele, half of the comedic duo Key and Peele, makes a bold move by casting his take on race in America not as a drama or comedy but as a horror movie. The premise is familiar — a black man goes home with his white girlfriend’s parents whose warm hospitality masks an unthinkable secret — but the movie takes off in unexpected directions from there.
Like the works of Luis Bunuel, Get Out taps into the totemic power of objects that carry personal and political meaning. Whether it’s Rose’s doctor father Dean (Bradley Whitford) forcibly hypnotizing Chris or partygoers holding up numbered paddles to bid on bottles of Coagula, everything becomes loaded with meaning for Chris through the lens of his own dual consciousness.
Ultimately, Get Out is less concerned with scaring its audience than it is in showing the insidious nature of racism and the way that it can take shape in our everyday lives. It’s a masterful work that takes full advantage of the eerie and unpredictable nature of horror movies, while also deftly handling issues of prejudice and racism through character interactions and performances instead of overt moralizing.
