In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined. Written by
DIRECTOR TRADEMARK (Jordan Peele): (T.S.A.): Rod Williams, a T.S.A. Agent, is a highly sympathetic character. Jordan Peele has said he has general affection for T.S.A. screeners and doesn't just see them as annoyances at the airport, and several Key and Peele (2012) skits centered around T.S.A. Agents in various settings. See more »
The Lincoln MKC uses a (large) fob, not keys to lock, unlock and lift the hatchback. Remote and Push-Button Start is standard on all models. Rose only needed to have it on her person (even if it was in her purse) to start the vehicle. Even then, she had to make sure she was actually carrying the device with her, so searching pockets for it was still plausible. See more »
All I know is sometimes, when there's too many white people, I get nervous, you know?
[pause, Georgina laughs creepily with tears in her eyes]
Oh no, no. No. No no no no no no. Aren't you something? That's not my experience. Not at all. The Armitages are so good to us. They treat us like family.
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In an unnamed U.S. city, Chris (Daniel Kaluuya) is an African-American photographer. His white girlfriend Rose (Allison Williams), whom he has been seeing for about four months, asks him to join her to meet her family for the first time. At the country's family estate, Chris notices some odd events which lead him to think he could be in danger.
Director/writer Jordan Peele has created a superb thriller that easily reminds one of the brilliant "Stepford Wives" (1975). The tension slowly builds with the viewer identifying with Chris. The strange events seem harmless at first but there are too many coincidences to dismiss. Once the pieces come together, it's easy to see why the film was given its title.
"Get Out" is not without its comical moments especially stupid comments from well-meaning "good, white liberals" which peak at a massive garden-party-from-hell. As a modern psychological horror-thriller with an unique perspective on racism, it's easy to see why "Get Out" has earned so much recognition during the current awards season. It does borrow heavily from "The Stepford Wives" but clearly adds its own special, creative spin on the "people here sure are weird" atmosphere.
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