"Get Out" Review

Title: Get Out

Directed by: Jordan Peele

Written by: Jordan Peele

Year: 2017


Last year, the comedy duo composed of Keegan-Michael Key and Jordan Peele released their first feature film, Keanu. The film was meant to play to their strengths as comedians, but I found the project underwhelming as a whole. Now, Peele has branched out to create a film of his own, and this one seems far outside his wheelhouse. A horror-thriller coming from a comedian?

Chris' girlfriend Rose is taking him to her home so that he can meet her family. However, he is a little worried because he is black while she and her family are white. Upon meeting the parents, Chris feels welcomed and everything seems comfortable. However, strange things begin happening and Chris is forced to question his own safety.

Peele appears to be far outside his element given his previous body of work. However, Get Out is a well-crafted and fresh picture in an era where franchises dominate the theatre. Peele proves himself to be a more-than-capable director with streaming originality and a sure-handed vision. Every aspect of the film comes across as purposeful and does not give off the air of a debut artist. This is an exceptional outing for the freshman director, showcasing both his storytelling abilities and displaying a unique style.

Daniel Kaluuya is the lead in this movie and he is absolutely excellent. He imbues Chris with a personality that radiates from the screen, making him a very likable protagonist. Allison Williams does a great job playing Rose, and she really amps up her performance when the third act rolls around. The rest of the Armitage family is portrayed very well by a creepy Bradley Whitford, a chilling Catherine Keener, and a kooky Caleb Landry Jones. But perhaps the most memorable performance comes from Lil Rel Howery who plays Rod, Chris' friend. In the midst of all the creepiness and eeriness, he brings a sense of reality in a humorous manner. Howery is a riot and makes for an instant crowd favorite.

Get Out features a wholly original story and continues the streak of solid horror/thrillers from last year. There is an interesting mystery surrounding Rose's hometown and the people that live in it. The opening long-take immediately sets up the film's tone wonderfully, displaying a blend of comedy and tension. Moving at a brisk pace thanks to its initial intrigue, the film reveals information in bite-size pieces so as to keep the audience hooked. The movie relies more on small clues and hints than big reveals, although those are still present.

The film retains a sense of uneasiness and impending dread throughout its runtime admirably. Peele preys on the inherent fear of a situation common to most people and takes it to the next level. Every moment of levity is counterbalanced with several perturbing scenes to keep the viewer's hopefulness at bay. I think the picture's best example of this comes in the form of a game of bingo. From the first moment you can sense that something is off, from the way the game is being played and how it is shot. A little bit later, something occurs that changes how the game is perceived and is one of the movie's major focal points, turning an innocent and harmless game into something quite frightening.

The cinematography features some great examples of creative framing, and I already mentioned the awesome opening shot. Aside from that however, there is nothing really special about the camerawork. The scenes of "the sunken place" are rather simple in approach but highly effective, emanating a helpless, claustrophobic air. Music seems to be used minimally, but when present adds to the atmosphere. The opening and ending songs stand out especially because of their primal feel.

Though the story is unlike anything I have seen in a film before, I thought it was unfortunately predictable. I found myself one or two steps ahead of the story beats all the way through to the finale, which certainly lessened the bigger moments for myself. Another complaint I have against the film is the social commentary clearly present. The message itself is outlandish, though admittedly darkly humorous. But Peele feels the constant need to reaffirm this theme whenever he gets the chance, thus beating the audience over the head and detracting from the solid diegesis.

Get Out is an impressive thriller with plenty of meritable qualities. The acting is appreciable across the board; the story is entirely original and superbly engaging; the atmosphere and mood of the picture are perfectly captured and portrayed; Peele's direction is stellar; and the third act is a heart-stopping, visceral experience that needs to be seen. While I did find the plot to be predictable and telegraphed from almost the beginning and the social commentary to be overdone, I can still highly recommend this flick. Get Out is a winner and has me curious as to what Peele will do next.

Grade: A-