User Reviews

"Get Out" takes the initial premise of "Guess Who's Coming to Dinner" and then twists it with "The Stepford Wives" to create a compelling, thoughtful critique of white power. Peele, of course, isn't arguing that white people are out to hypnotise black people. Instead, Get Out is a stinging criticism of the white liberalism that carries itself as empathetic towards blacks, but that empathy only extends as far as white control. Peele isn't taking aim at Neo- Nazis and other whites who would angrily shout the n-word. They're a lost cause. Instead, he's looking at those who profess their lack of racism, but only do so if they can maintain their dominance over black people in the most insidious manner possible. As Chris pointedly notes to Rose at party full of white people, "Has anyone here ever met a black person that didn't work for them?"

The film is genuinely creepy. Instead of cheesy music and grotesque torture porn, Peele relies on the unknown to draw you in. What is happening here? The plot builds like a slow boil to a terror explosion. Clues to the outcome are evident from the first second, but it takes the entire run-time to pull everything together. It's such a joy to be surprised by a horror outcome. I don't think I've seen a genre film this inventive since Cabin in the Woods. The resolve is truly satisfying.

My favourite aspect of Get Out is the intelligence of the characters. There's a lot to like, but beyond the deeper themes; the characters aren't morons. I cringe every time I watch a genre film and the characters don't behave logically. Chris and Rose are not fools. Something is amiss, enough to warrant wariness. Anyone in this situation would be unnerved as events play out. Credit again to Peele for writing characters that act rationally.

"Get Out" doesn't replace the scares with humour – Peele is too smart to do that. Instead, he balances the fear with laughs and then laces everything with social comment and that unsettling tone. The fact that Chris is so eminently likable just underlines it. It all adds up to something of a treat – for everybody, not just horror fans.

I wasn't sure what to expect from Get Out, and I was initially surprised and offput, but the last half an hour ended up being boringly predictable - not plot-wise, but how the characters would end up (dead or alive), and who were bad guys and good guys.

If you find the idea of someone taking over someone else's body terrifying, you will be much more offput by the story and visuals. In my opinion, the whole thing was too silly to be scary.

Get Out provided me with something I long for. The debut of a new filmmaker that makes you look hopefully into the future. Jordan Peele has done just that. He wrote and directed this smart, elegant film and even made us find a new way to classify it. Horror, comedy, drama, social satire. What matters really is that it's a first of sorts and then some. It introduced me also to a major talent in front of the camera. Daniel Kaluuya is sheer perfection. As an actor he projects and provokes empathy. Whatever your race or races you will be in his shoes, feeling what he's feeling. I was him, throughout. The gasps of fear mixed with the bursts of laughter from the audience - me included - made Get Out one of the most rewarding film experiences of 2017. Kudos also to Bradley Whitford and the phenomenal Catherine Keener. They are terrifyingly recognizable and what about Caleb Landry Jones? Menacing enough and comic enough - he reminded me of Peter, Chris Elliott's character in Everybody Loves Raymond - to be all the things he needed to be. Perfect. As is the human relief provided by the wonderful Marcus Henderson. As you may gather I'm celebrating. So, Mr Peele, thank you very much.

People will be talking about this one for a long time.

Get Out is an extremely powerful, poignant horror movie with some humor. Whatever elements of action or schlock that are present take a backseat to the real human drama that plays out when Chris (Daniel Kaluuya) meets his white girlfriend's eccentric family.

The characters are fleshed out immaculately, with Bradley Whitford and Catherine Keener in their best performances to date, and Caleb Landry Jones in an appropriately, intensely creepy role. But Kaluuya is the star here, and he delivers with zeal a shocking depth and range of emotions. In fact, more often than not its what he doesn't say that delivers the most impact... which is all to say that this masterpiece could not have been accomplished without the masterful direction of Jordan Peele.

Peele builds atmosphere and tension like the Big Bang, dunking you into the mind of the main character while he navigates through very visceral danger.

If you're looking for a film that sets out to entertain first and foremost with shock and terror, but also with poignant social commentary and real philosophical meat to chew on, Get Out is the movie you need to see. You won't regret it.

This isn't Cabin in the Woods, Peele isn't interested in subverting genre conventions. What he has crafted is entirely original and unique, and thankfully free of clichés or stereotypes.

There are no "monsters" here. The real villains are entitlement, egotism, and objectification, and g.d. they are scary!

This movie was OK, but I don't get why lots of people think it's one of the best horror films from the past few years. Plus I agree with those who say it has racism in it. It's like the film is saying white people are bad and just want to take advantage of other races.

Anyways the film revolves around Chris, whom is invited by his girlfriend, Rose, to her parents house for the weekend and a party. At the house, Chris meets a couple of other black people whom seem to be off. At the party he takes a picture of one of them, and he flips out and tells Chris to "Get Out".

Chris finds out the guy was someone from the neighborhood from his buddy Rod and that guy is missing. Chris realizes he needs to leave after finding a box of pictures of Rose with other black guys after she told him he was the first black guy she's dated.

So the final is Chris escaping. That part was good.

FINAL VERDICT: It was OK but not the best horror film. I think people just praised it because it actually had a little uniqueness about it and not the same old thing.

The acting in this film especially by the main lead is phenomenal no question.

That being said the comic relief cop was so out of place in this film it wasn't even funny neither was he in general for that matter.

I respect what this movie attempted to do to put a magnifying glass in the faces of those that espouse racism in this country and act as if that's RIGHT as if there is nothing wrong with it when there is clearly so MUCH WRONG with that even more so nowadays in this country.

The movie was creepy as well as unsettling there was a sense of dread throughout knowing that something sinister was happening you just didn't know what that something was just yet.

The movie definitely had some startling and jolting moments as well and the villains in the film were satisfyingly sadistic and unsettling especially one that I did NOT realize was a villain the entire time.

It was an enjoyable thriller no question and I respected as well as appreciated the social commentary regarding racism throughout the film.

However as I said the actor playing the main characters best friend who felt something was off from the very beginning was simply too obnoxious,stereotypical,and obnoxious for me personally.

Not to mention this film started off creepy and progressively became more and more unsettling yet the ending completely destroyed the momentum that the film had made up until that point.

To end the film on such an unrealistically triumphant and cheery note knowing that for so many African Americans in this country that they rarely and sadly do not receive or get that much deserved happy ending the way they should was mind boggling to me it just did not add up to the creative,chilling,masterful,creepy,and unsettling vibe of the rest of the film.

It lost all of its momentum when they tacked that ridiculously unrealistic ending on to it to end the film on a more realistic note would have left the audience with a more thought provoking and cathartic reaction.

If it had ended with Chris going to jail being persecuted for the color of his skin and knowing the last villain standing got away with it...again it would have had a more lasting impression that probably would have opened closed minds and eyes that had originally refused to acknowledge the kind of injustice that those actions are that are committed against African Americans daily in this country.

Highly recommended nonetheless the film is brilliant and truly unsettling despite my reservations about certain aspects of this film.

Recently saw this on Netflix, remembered there was a lot of positivity, that it was 'genuinely unsettling' so was excited to see what it would have in store.

In my opinion, it was overrated. Massively.

First of all the good things, the lead actors are very good and the director manages to create a few unsettling moments and an atmosphere is definitely there. It reminded me a bit of Society in terms of tone, which is the better film I think.

However, this tense atmosphere is abruptly interrupted whenever the 'comic' best friend makes an appearance. Took me right out of the picture. He did make me laugh in the beginning, but I was getting annoyed with him by the end.

Also once I found out what was actually happening, I was disappointed and the ending is generic survivor kills all the evil people and escapes routine.

Again, I found it to be ok. Not particularly memorable or deserving of this praise and certainly not oscar material! What a laff, I thought The Witch would have been more fitting oscar material if I had to pick a 'horror' film.

Producer Jason Blum is the new Roger Corman: he's making a fortune producing smart low budget genre films that make a ton of money at the box office. Since his costs are low, he can afford to take chances on riskier edgy fare that studios wouldn't touch, and on relatively unproven talent.

There's no better example of this than Get Out, a truly surprising film by first time writer-director Jordan Peele. Better known as one half of comedy due Key & Peele, Jordan Peele isn't a name you would normally associate with horror/suspense films, which makes his effort all the more impressive. Get Out feels like the work of a very experienced craftsman who has seen a lot of classic horror films and truly wants to pay homage to them without slavishly copying or ripping them off.

If you've seen the trailer, you know the basic "Meet the Parents/Stepford Wives"-mashup storyline: rich white girl Rose (Alison Williams) brings black boyfriend Chris (Daniel Kaluuya) back home to meet her parents Dean and Missy Armitage (Bradford Whitford and Catherine Keener) for the first time. Although mom & dad (who were not told beforehand that Chris is black) seem friendly enough, things immediately look weird: the house is very isolated, the basement is off limits due to a 'black mold problem', and the only other black people are a maid and a caretaker whose robotic behavior doesn't seem to be noticed by anyone except Chris. It's clear something's off but is it just racial awkwardness or something more sinister? This being a horror film (with some comedy elements of very black comedy), the audience knows Chris' suspicions are likely correct, and the hints and strange events keep piling up (Dean is a brain surgeon and Missy is a psychiatrist whose expertise is hypnosis) but we don't find out exactly what's going until very late in the proceedings, and this guessing game (and its ultimate answer) are part of the film's power.

I mentioned "The Stepford Wives" earlier, but the film actually has more in common with Rosemary's Baby (not coincidentally, another Ira Levin adaptation): without going into spoiler territory, Chris's situation and his relationship with Rose's parents is clearly inspired by Rosemary's predicament and relationship with her new neighbors Roman and Minnie Castavet, who also appear to be caring and doting but turn out to have a very sinister agenda. Those who are familiar with Roman Polanski's masterpiece will notice how entire scenes in Get Out (particularly a party with a lot of oddball guests, almost all of whom are white and older than Chris) pay direct homage to the earlier film.

But whereas Rosemary's sense of alienation came from being a first time expectant mother (in itself a disconcerting experience) transplanted into a new environment (the Dakota building and its assortment of strange tenants), Chris' predicament has the added layer of racial conflict bubbling under the surface. He's the only black person in the entire place, save for the domestic help, and although everyone is nice and courteous, he (and the audience) can't help but feel that it's all the phony facade behind which something very unsettling is going on. Chris' suspicions are fueled by his occasional phone conversation with his friend Rod (LilRel Howery), a TSA agent who is house-sitting for Chris back in New York. Rod know something's up and keeps telling Chris to 'get out' of there because he's afraid the Armitages will turn him into a sex slave, but Chris is too polite (or intimidated by prospect of outright social/racial conflict) to take his advice.

Get Out's narrative is straightforward enough once you figure out where the story is going, but getting there is where the fun is. The cast is uniformly fantastic: like many actors turned directors, Jordan Peele gets great, nuanced performances by everyone, especially lead Daniel Kaluuya (in a star-making turn).

The racial aspects of the story are what makes Get Out so effective: without them, this would have been yet another installment in a long series of films where a seemingly nice family or close-knit suburban community turns out to harbor unpleasantness under the surface.. But the race conflict isn't an exploitative gimmick: Chris's race is an integral part of the story

In this day and age, it's safe to say a film featuring a black lead being victimized by a group of white folks could have been very incendiary, but the fact that Jordan Peele is black adds an extra layer of credibility to the film and helps deflects accusations of being exploitative. Rather than being brash and confrontational, the film is surprisingly apolitical and doesn't hit the viewer on the head with blunt racial allegories and heavy-handed caricatures.

Rose's parents are not the stereotypical racist old white folks: they are affluent, liberal intellectuals who (in her dad's own words) would have voted for Obama a third time if they could have. For most of the film, their courtesy and hospitality towards Chris feel unforced and genuine, if a bit stilted, which makes what happens in the third act a lot more believable and creepy.

The twist, if you can call it that, is effective because it's completely logical within the context of the film. The villains of the story have a very good (twisted) reason for their behavior, and are very civilized and professional about it. Not unlike the 'good Germans' during Hitler's regime, they think they're acting in pursuit of a greater good (listen to Dean's story at the beginning when he tells Chris of his admiration for Jesse Owens at the 1936 Berlin Olympics, where his own father also competed)

Get Out is the best kind of socially-conscious horror film: like Dawn of the Dead's anti-consumerism and The Texas Chainsaw Massacre pro-vegetarian stance, you don't need to notice the underlying message to enjoy the film, but it's there in plain sight, and surprisingly effective.