Review of Get Out (2017) by Carlos R — 03 Jun 2017

I loved the marketing for Get Out. It didn't quite give you the plot, whereas most trailers simply give out alot. It actually sort of leads you to believe the plot will be simple and predicable. Its got to be about white privilege or talking down to white audiences. You've probably read a few articles about how it flips the race thing on its head, not simply being about ignorant racist southerners, whose brand we've seen all too often. That it does do. Also, if you have been listening to comparisons, Guess Who's Coming To Dinner, Stepford Wive's and Rosemary's Baby are certainly influences on Jordan Peele. Like Quintin Tarantino he borrows, never bites, from those inspirations. Its from half of Key & Peele, so It's funny, witty and then surprisingly scary. Apparently JP has 9 more horror films like this in his bandolier.

Childish Gambino's song Redbone plays over the introduction, perfectly fitting the tone of the movie as it demands people "Stay Woke!". Allison Williams is one of my favorite characters as Rose, but the two male leads also help make the film all that it is. Daniel Kaluuya is believable in an accent that's not even close to his and Lil Rel Howery plays the everyman perfectly. In this day and age it seems like an operation such as the one going on in this Connecticut town wouldn't get far, especially if you have constant connection to someone outside like Howery. The casting of the family is also brilliant, each filling their role well as supporting characters. The townsfolk are also creepy, especially Atlanta's Keith Stanfield. This is a movie that seems like it never would have got made (like Wonder Woman), but it did and the world is all the better for it. He does well balancing the tone of the film throughout. Peele crafts a horror movie that feels fresh and new; a feat most horror movies only dream of.

In the beginning the film is pace is slow, a perfect set up for whats to come. By the end though it is thrilling, as all that build up comes to a worthy pay off. It's uncomfortable to notice all attempts by the main character to bond over black culture with the other African Americans in the town are failing. The only one who seems to not be acting odd is Rose and maybe with her help, he can get out of this weirdo situation. Visually it is fine and nothing is queer to the eye, but the story and delivery of an on point 'social thriller' is the main accomplishment of the film. This being the directors first outing no one could have saw this coming, and it makes the score a few steps higher because of what he managed to pull off.