Director: Jordan Peele
Screenwriter: Jordan Peele
Director of Photography: Toby Oliver
Cast: Daniel Kaluuya, Allison Williams, Catherine Keener
Synopsis: An interracial couple on the cusp of entering more serious stage in their relationship agree to visit the girlfriend’s parents for the weekend but the family’s accepting nature soon diminishes as their true intentions come to light in a monstrous fashion.
Get Out Review:
A cerebral invasion thriller about the struggle to preserve identity under brutally conspicuous circumstances, “Get Out” redefines what it means to be in a social minority as funnyman Jordan Peele delivers a directorial debut to remember through his personal mix of genres, styles, and observations. Arranged like “The Shining” but delivered with the force of a Sidney Lumet movie, “Get Out” sees Daniel Kaluuya one-up his unforgettable “Black Mirror” performance in a role written for an actor who’s as cool as a cucumber until he’s pushed to breaking point. Kaluuya’s demeanour is one of great warmth and composure but the relaxed look behind his eyes soon turns to terror as the truth behind his crumbling existence turns smiles into tears and relaxedness into fear.
As trust diminishes and tensions reach their peak between both sides, “Get Out” turbulently hammers home its message about the destruction of essence, creating the Westboro Baptist Church of metaphors while popular archetypes drive a youth-chasing community mad. In an allegorical reality where everyday people are judged by the advantages of their race rather than personal achievements, Peele shows us an alarming truth about the world we already live in, a world of sports, media, and music where it’s far too easy to pick your favourite aspects of a person, or even a whole race of people, and simply discard the rest.
As a smart horror movie with a heavy subtext, “Get Out” doggy-paddles its way through everyday conventions, diverting head-on traffic with belly laughs and perplexing conversations before tumbling into its final act without a parachute. Often conventional yet always intelligent, the movie puts its eccentric ideas to good use with a “Guess Who’s Coming to Dinner” screenplay that’s written to sympathise with a distinct set of individuals while easily speaking to every single viewer with eyes, ears, and a conscience. In a film where black and white are so blatantly defined, Peele finds ‘blackness’ in all of us, oppressing each and every witness to his unthinkable chain of events through an exclusively cinematic kind of prejudice.