Get Out (2017)

Review

104min

Genre:       Horror, Mystery

Director:    Jordan Peele

Cast:         Daniel Kaluuya, Allison Williams, Bradley Whitford…and more

Writer:      Jordan Peele

-Synopsis-

When a young black man heads on a trip to meet his white girlfriend’s well-to-do family, his only concern seems to be whether he’ll be accepted by them—but when it becomes clear that not everything is as it seems in the quiet suburbs, he’ll have much more to worry about in this racially-charged, ultra-creepy horror directorial debut from one half of the comedy team of Key & Peele.

After showcasing his chops for cutting satire and clever social commentary in the realm of comedy—through several TV shows and as a member of America’s hottest comedy duo—writer/director Jordan Peele turns to creepy horror and psychological thriller for his first film at the helm. A disturbing, fearless, provocative and hugely entertaining take on the ‘African American experience’ and racial division in 21st century USA . . . which takes an almighty dig at ‘progressive’ liberal America.

Up-and-coming British actor Daniel Kaluuya stars as young photographer ‘Chris’ and Allison Williams as his girlfriend ‘Rose’, on a trip to the isolated suburbs to ‘meet the parents’ and tentatively reveal their interracial relationship to ‘Rose’s’ liberal, middle-class, Obama-supporting family the ‘Armitages’. When the behaviour of the family’s servants and some of the locals becomes increasingly bizarre, ‘Chris’ soon discovers that Mr. Armitage’s (Bradley Whitford) cringeworthy attempts to connect with him, and Mrs. Armitage’s (Catherine Keener) hypnosis techniques are only the tip of the iceberg of discomfort in this family visit—as he finds himself in a disturbing struggle for self-identity when things take a sinister turn.

As soon as our two lead characters leave the city and approach the suburbs, ‘Get Out’ begins to build a sense of unease for ‘Chris’ which persists throughout the movie—deliberately reflecting the discomfort which many African Americans (and indeed other minorities) sometimes feel living in a ‘white world’, and which is magnified by placing our protagonist in the whitest place imaginable . . . the middle-class American suburbs.

Director Peele then expertly ratchets-up the tension, keeping the audience on its toes with a few strategic jumpscares and a feeling of unease by magnifying increasingly disturbing characters with creepy close-ups and low angle shots. Then throwing the audience off-balance by releasing the tension with a hilarious and sobering running commentary from another character, before raising  the stakes and the suspense to new levels—on the way to some sinister reveals and a traditional horror final twist.

Kaluuya delivers an accomplished and particularly nuanced performance for a horror film, conveying bewilderment and despair—often with just a look—and as utterly convincing as an American as he was in 2015’s brilliant ‘Sicario‘. While Williams and the rest of the cast all shine in a surprisingly layered horror/thriller which is inspired by any number of classic genre examples; from horror staples like ‘The Stepford Wives’ and ‘Invasion of the Body Snatchers’, to films about the discomfort of meeting future in-laws like ‘Guess Who’s Coming to Dinner’ and ‘Meet the Parents’, and even more recent fare like M. Night Shyamalan’s ‘The Visit’—also produced by Blumhouse Productions—as Peele takes from many sources to make his nevertheless unique vision come true.

What really makes this film a triumph though is Peele’s ability to build a gripping and disturbing horror and psychological thriller on top of several layers of social commentary and piercing satire, and his absolute fearlessness in tackling the many facets which make up the ‘African American experience’ in the modern United States. ‘Get Out’ is an overt metaphor for racism in a so-called ‘post-racial’ world—a naive belief that was allowed to spread after Obama’s election—but more specifically within a community where you might not expect it to come from, white middle-class liberals. A less recognisable, well-meaning, non-hateful and subtle but very common and often subconscious type of everyday racism and malignant discrimination.

Peele creatively but brazenly reflects certain uncomfortable intricacies of racism and the experiences of African Americans—like cultural appropriation and a certain loss of identity felt by many, even touching upon the provocative subject of racial genetics, while simultaneously working off of the opposing socially and politically divisive notions of ‘white privilege’ and ‘white guilt’. But it should all be seen in the context of the undeniable progress made by American society over the last fifty years or so . . . since the time when overt racism ruled the land.

The writer/director deserves plenty of praise for creating something not only clever, disturbing and entertaining, but a film which contributes to the uncomfortable discussion of race and its complexities, as well as where to draw the line and what actually constitutes racism—a discussion which these days could brand you as a racist for even daring to have it. It’s particularly timely in a country which seems increasingly racially divided, and bold considering the many who might resent his distinct framing of racial discrimination, or perhaps even take it personally—particularly those who may be emboldened by the current political climate to brand the film as ‘race baiting’, or racist itself.

However, despite how uncomfortable and even divisive the film may be in what it’s trying to say, it shouldn’t be in the way it says it. Ultimately this is an unsettling but hugely rewarding cinematic experience which provokes audience participation, freaking us out and delighting us in equal measure, while bringing us together— regardless of race, colour or creed.

The Bottom Line…

A hugely impressive directorial debut and gloriously uncomfortable conversation starter, ‘Get Out’ is a bold and expertly executed blend of revealing social commentary and creepy psychological terror which will make you squirm, laugh and keep your eyes glued to the screen throughout—a big indie horror success story which may yet spawn a controversial new sub-genre about the ‘horrors’ of white liberal America.

Similar films you may like (Home Video)

The Visit (2015)

A young brother and sister are invited to spend time visiting their single mother’s estranged parents in the country, as they try to connect with their grandparents and discover why their mother became separated from them, a pattern of increasingly bizarre and sinister behaviour suggests not everything is as it seems in this ‘found footage’ style horror/thriller from writer/director M. Night Shyamalan.

Directed by M. Night Shyamalan and starring Olivia DeJonge, Ed Oxenbould and Deanna Dunagan among others.

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