Review: Jordan Peele’s “Get Out”

Get Out”- a socially conscious horror movie casting racism as the new boogieman, takes box offices by storm.

Get Out, earning the almost perfect score on Rotten Tomatoes of 99%, has beaten a nearly 20-year record, becoming the highest-grossing debut for a writer-director. Surpassing 1999’s Blair Witch Project which made approximately $183 million total in the USA, Get Out has raked in over $196 million in sales so far with only a $6 million budget.

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Famous sketch comedian Jordan Peele (of Key and Peele), makes his extraordinary and genuinely creepy directorial debut with psychological horror Get Out, becoming the first African-America writer-director to earn $130 million plus on their debut film. Written, directed, and produced by Peele, Get Out places racism at the heart of the film in a semi parodic way, true to Peele’s comedic roots. Conceived in the fading days of Obama’s presidency, and premiered at Sundance Film Festival a few days into Trumps reign, the film would be worthy of its critical acclaim, even without the sly timeliness of its debut.

The film has been seen by commenters as a satire on the dynamics of so called “West Wing liberals”, who consider themselves to be allies to movements against racism, yet do more harm than good. This is what the film does so well- exposes how, however unintentionally, these people can make life so uncomfortable and hard for black people. These people aren’t your neo-nazi punks, or southern rednecks, they’re your regular middle class white liberals, people like you or me, who unknowingly still put people of color in a labelled box. The film takes this idea and exaggerates it into a horrifically twisted ending, but the basis of this shines through loud and clear, perhaps provoking some serious self-reflection for some viewers.

The story follows Chris (played by Daniel Kaluuya- recognizable from multiple “Blackmirror” episodes) a talented African-American photographer, and his “cool” white girlfriend Rose (Allison Williams- from HBO’s “Girls”) as they take a trip to her parent’s segregated plantation-like property, where Chris meets Roses’s parents for the first time. Chris has is doubts when he realizes Rose’s parents were not informed of the color of his skin, and from here his paranoia becomes a chaotic reality.

Weaving themes of slavery-era America into the modern-day setting, Peele highlights how the racism and terror of this historical era is still present in American society today, saying: “The real thing at hand here is slavery… Not to bring down the room, guys. It’s some dark shit”. Another issue Get Out taps into is the real-life crisis of black Americans who, when reported missing, don’t receive the same attention from media and law enforcement that white female Americans do.

If you’re a big fan of Blackmirror, and you’re craving your fix of twisted yet weirdly realistic thrillers, then Get Out is the film for you. Backed by the guy behind Paranormal Activity, Jason Blum and “Blumhouse Productions”, classic genre elements of suspense and plot twists, accompanied by the perfect soundtrack are spot on. Think Paranormal Activity cross Meet The Parents cross Blackmirror… and you might come close to Get Out.

Peele himself has categorized Get Out as a “Social Thriller”, and has 4 other films in the caldron for production over the next decade. Get Out gets a 10/10 for me, so I can’t wait to see what the future holds for Jordan Peele.

JORDAN PEELE SAYS THIS: “The scariest monster in the world is human beings and what we are capable of, especially when we get together. I’m working on these premises about these different social demons. These innately human monsters that have been woven into the fabric of how we think and how we interact. Each one of my movies is going to be about one of these different social demons. The first one being “Get Out,” is about race and neglect and marginalization.” – Jordan Peele; In an interview with Jason Guerrasio from Business Insider. Read the full interview here 

Check out screening times at cinemas here.

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