Directed by:
Jordan PeeleScreenplay:
Jordan PeeleCinematography:
Toby OliverComposer:
Michael AbelsCast:
Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones, Stephen Root, Lil Rel Howery, Lakeith Stanfield, Betty Gabriel (more)VOD (5)
Plots(1)
Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford). At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined. (Universal Pictures US)
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Reviews (14)
Earning USD 150 million at the US box office with a budget of less than five million dollars? Jason Blum is the man. And it
seems that a new age of black directing talent is at hand. The atmosphere of Get Out is reminiscent of the works of
Stephen King, and had it been based on one of his books, it would have been one of the best King adaptations ever. The
psychological horror formula, intensely and courageously built on the sensitive issue of racism, will send chills down
your spine. Flawlessly directed with intelligent social insight, the movie is effective thanks both to the tension between
the characters and purely genre elements (jump scares, raising of the tension using visual tricks). If it had a cleverer
ending, it would be a work with precision reaching the level of Shyamalan’s famous trilogy. [ArcLight Santa Monica]
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A feature-length episode of Black Mirror, which the wave of last year's Moonlight and related racial themes nonsensically elevated to the level of a battle for Oscars. Daniel Kaluuya authentically experiences all the sensitive and menacing moments in the role of the main protagonist, and I am very glad to see the underappreciated Allison Williams in a leading role, but it's not enough. An interesting concept is not sufficient for an entire film, and after all the reviews, I inevitably expected a foundation of a new direction or at least a surprisingly well-guided genre film. However, nothing lies beneath this slightly superficial portrayal with its one-sided point.
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There's a bit of a nervous director's claw in the horror scenes, and as a result the finale doesn't destroy you as much as it should, but up until that point it's such an apt and poignant escalation of the "black mask" issue that it's just impossible not to enjoy it. I'm rooting for commercial success to the hilt. As the cliché goes: it makes it real. Tarantino must have snorted with delight at this one.
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The film features excellent screenwriting and above all directing, with a strange white panopticon, a properly soaked racist mindset, and above all the insistent feeling of "what the fuck...?". The intensity, where you pray that the plot will keep moving and you will learn a little more, works mainly because the protagonist maintains a rational approach throughout and the plot never once allows him to slip into a genre crutch. Moreover, this is brilliantly caricatured by the character of the best friend, who both introduces and breaks down traditional creative practices by commenting on upcoming events over the phone. It's terribly simple and yet perfectly thought out and embellished in detail, a work of art straight out of a magazine. 4 ½.
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I was a bit concerned this would turn into another campaign for the rights of the American minority, of which there is enough everywhere these days. Partially it did, but the story was written in such a way that it didn’t get annoying. By that I mean that I had a pretty good time watching it, because the mean white people were really sneaky, Daniel Kaluuya was impressively flashing his eyeballs, and Rod's visit to the police station was hilarious. I just wouldn't go so far as to call this a horror film.
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