Meeting the parents is a nerve-wracking experience for most but it certainly is the case for Chris (Daniel Kaluuya), an African-American man who accompanies his Caucasian girlfriend Rose (Allison Williams) on a weekend trip away to her family home in the suburbs.
Due to his race, Chris immediately experiences understandable fears about his acceptance within the family and his position as Rose’s boyfriend, however she reassures him that her parents have zero issues.
What follows is an emotionally intense, psychological chain of events which questions whether Chris will ‘get out’ of the unorthodox situation he’s found himself embroiled in.
From the chilling opening to the nail biting finale, Get Out is one of the must-see movies of 2017 and absolutely deserves the immense amount of praise it has been receiving. Horror has waited a long time for a film of this kind which tackles an important subject matter head on. This film marks a genre shift for it’s director and writer Jordan Peele who is renowned for his work prominently within comedy. As his horror debut he has created an accomplished film which out-rightly satires and highlights issues of racism within society and extreme white views which is both interesting and horrendous to watch.
Get Out has been described as a “dark comedy” however it doesn’t explicitly fit into that category. For the most part it is extremely tense but it occasionally veers off with some light relief in order to break things up, namely the character of Chris’s best friend and confidant Rod (Lil Rel Howery). Speaking of his character, he is proof of how the film challenges typical horror tropes and even allows the “comedy relief” character to have more significance and importance to the story than is first expected.
Daniel Kaluuya is captivating throughout the film and has the audience in the palm of his hand as he goes through plenty of twisted torment. His performance is gripping from the outset as he portrays Chris as a young man who isn’t afraid to display vulnerability. In horror it’s rare to see African American characters portrayed in a positive light. Take a look at the majority of slasher films where they are inexcusably bumped off for the sake of showcasing that the killer means business. Scream 2 (1997) cleverly critiqued this convention whereas Candyman (1992) also brought the horror of racial tension to the forefront. It is therefore refreshing to see an African American male shown to be strong and resourceful when he needs to be and isn’t afraid to stand up for his morals when it comes to the crunch. Chris is completely and utterly a well rounded, unforgettable character. Women in horror have also been underrepresented in the past but it is now a consistently growing movement. The genre has seen plenty of interesting and well written females in recent modern films so it does make a welcome change to see a male in the protagonist role.
Without revealing too much, Allison Williams plays an incredible part as the sympathetic girlfriend as she struggles with her family’s conflict. Catherine Keener, Bradley Whitford, Betty Gabriel, Lakeith Stanfield and Caleb Landry Jones all encompass striking screen presences. It’s never quite clear what their initial motivations are which adds to the overall suspense. They are all characters to watch out for making Get Out essentially an ensemble piece.
The opening of the film packs a punch with the eerie tune of “Run, Rabbit, Run” playing diegetically from a car creating an instantly visceral immersion into it. From then on the film gradually builds itself up crafting a clever script layered with racial overtones that creates a sense of unease from the get go. Nothing feels wasted at all as it all gears towards where it needs to be. The reveals are fantastically disturbing and well worth the wait.
The score composed by Michael Abels echoes a haunting atmosphere with it’s distinctive black musical influence as instructed by Peele when he was deciding on the direction he wanted the score to go in. Violin strings and vocal chants enhances the film’s anxious tone to a heart-rendering effect.
Get Out incorporates dream like visuals that are beautifully shot and equally trippy.
There are so many layers to the film and so much political and social symbolism to look out for.
Jaw-dropping, highly engaging and intelligently woven, Get Out is both impactful and an important horror film that has been much-needed.
Hayley Alice Roberts