Get Out (2017) Poster

(I) (2017)

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Just because you're invited, doesn't mean you're welcome.
asifahsankhan17 March 2017
Warning: Spoilers
"Get Out" takes the initial premise of "Guess Who's Coming to Dinner" and then twists it with "The Stepford Wives" to create a compelling, thoughtful critique of white power. Peele, of course, isn't arguing that white people are out to hypnotise black people. Instead, Get Out is a stinging criticism of the white liberalism that carries itself as empathetic towards blacks, but that empathy only extends as far as white control. Peele isn't taking aim at Neo- Nazis and other whites who would angrily shout the n-word. They're a lost cause. Instead, he's looking at those who profess their lack of racism, but only do so if they can maintain their dominance over black people in the most insidious manner possible. As Chris pointedly notes to Rose at party full of white people, "Has anyone here ever met a black person that didn't work for them?"

The film is genuinely creepy. Instead of cheesy music and grotesque torture porn, Peele relies on the unknown to draw you in. What is happening here? The plot builds like a slow boil to a terror explosion. Clues to the outcome are evident from the first second, but it takes the entire run-time to pull everything together. It's such a joy to be surprised by a horror outcome. I don't think I've seen a genre film this inventive since Cabin in the Woods. The resolve is truly satisfying.

My favourite aspect of Get Out is the intelligence of the characters. There's a lot to like, but beyond the deeper themes; the characters aren't morons. I cringe every time I watch a genre film and the characters don't behave logically. Chris and Rose are not fools. Something is amiss, enough to warrant wariness. Anyone in this situation would be unnerved as events play out. Credit again to Peele for writing characters that act rationally.

"Get Out" doesn't replace the scares with humour – Peele is too smart to do that. Instead, he balances the fear with laughs and then laces everything with social comment and that unsettling tone. The fact that Chris is so eminently likable just underlines it. It all adds up to something of a treat – for everybody, not just horror fans.
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Lives up to the hype
ramair3506 March 2017
I decided to see this film at the theater after hearing some of the hype (which was basically that it is an excellent horror film that is told from the perspective of a black man).

Well, I can see this would be truly the worst nightmare of a black man (and really the worst nightmare for us all). This is NOT a film that tries to make the viewer feel "sorry" for black people, nor is it at all preachy, but it is just a good old fashioned horror film with a fresh new setting. I'm an old white guy by the way.

The acting is wonderful, and directing is amazing. The film, while mostly horror, is actually completely hilarious in some parts, making it the funniest AND scariest movie I have seen in ages (no easy feat). It is a shame that the film will likely not be regarded in the company of Academy Award potential nominees, because the directing and acting is honestly Oscar worthy. Again, no small feat for a horror movie that is also funny.

In summary, this is a MUST SEE at the theater and one of the best films of the year. It is a fun ride that is very well done!
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Slow Burner Insanity.
Impartial-Critic28 February 2020
Interesting movie about an interracial couple who decide to go for the weekend to visit the girl's parents, the boyfriend Chris starts noticing odd behaviors from the African Americans house workers and what started as a fun relaxing weekend slowly turns into a living nightmare for him.

The idea is original and interesting, the acting was good by all but I felt that Daniel Kaluuya was not emotional enough and his reactions was too cold in many scenes! but generally speaking the movie is well paced from all aspects yet I won't call this a horror in anyway, to me it's no more than a psychological suspense gets tense but never scary.

The movie has its share of racism that can't go unnoticed but it's not too much, mainly stereotypical yet I believe that the concept of the plot can executed on any race, which clearly hinted in Stephen Root's final scene. An open minded audience can go throw it, enjoy it without any care for its racism.
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I Don't Get The Hype
Brew_Swayne10 March 2017
Warning: Spoilers
Cookie cutter suspense/thriller/horror flick that isn't very suspenseful or thrilling or scary. The only real change from the norm with this movie is that it features a black man as the lead actor, and early on in the movie it touches on some of the problems of interracial dating from a black man's perspective. I found some humor in the way that the white family (and later their white friends) interacted with the lead character...going out of their way at times to either talk about how they voted for Obama or loved Tiger Woods...basically doing and saying the things that white people say to black people in an attempt to prove they aren't racist.

The movie was fairly well acted despite not having exceptionally strong material to work with. I thought Daniel Kaluuya turned in a really strong performance and he really saved the movie, imo. I don't recall seeing him in anything else prior to this, but he gave an excellent performance and I hope this serves as a spring board to bigger/better roles. Seems very talented.

My biggest problem with this movie is that I don't know what it was trying to be. It kind of hit a little bit with the satire and humor elements, but all in all, the movie just doesn't really have an identity. The "mystery" behind everything was not well concealed and the twists and turns you'd expect from a movie like this just never developed. I had this movie pretty well figured out before the halfway mark, which made for a less enjoyable second half of the movie. I'm pretty amazed by all the rave reviews it's getting.

It is a bit groundbreaking in it's own right strictly for the cultural/social/racial aspect - as that has been largely neglected in movies, especially this genre - but once you get passed that and just look at the movie for what it is, I can't really give this movie anything more than a middling grade. Not the worst movie I've ever seen by any means, but also not really worth the price of admission either. Wait for it to come out on Netflix and enjoy from the comfort of your own couch.
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Best debut from a first time director in years
dre64-212 May 2017
Let's clear the air about this film. It's not a horror film. It's not a comedy. What it is, is a suspenseful thriller of the highest level, worthy to be compared to Hitchcock caliber. The humor is there, along with a few horror scenes, but not enough to overshadow the main theme of the story. The film hits all cylinders with almost no misfires. As far as complaints that the film is racist, it is not. It would work just as well with an all-black or all-white cast. Those complaints are from people who are uncomfortable with black people or interracial relationships and are letting it distract them from the narrative of the film. I most certainly hope that it reaches the wider audience that it so richly deserves.
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The audience reaction caused me to second guess my opinion on this...
kayleighlaylaparker28 March 2017
Warning: Spoilers
The premise for Get Out is interesting and makes for an unusual horror. The premise, although good, deteriorates into clichés by the end, never fully fleshing out any of the characters and injecting humour where it doesn't really fit. The opening credits (and song) are haunting and evocative but the film itself portrays the characters as one dimensional. All of the white characters are evil and all of the black characters are victim. As usual, in Americas depiction of race, there is no middle ground, only white and black; no biracial, no latino, no Native American, only one Asian character randomly thrown in.

Although the film itself was fine if not rewatchable, what disturbed me most was sitting in an audience of black movie goers who cheered the deaths of all white people and made horrible comments.

As a horror lover, I have never seen even the worst killer or on-screen murder cheered, and yet the audience lapped it up because white people were being killed (even if they were the villains). This unsettled me. I'm not American and so my countries issues with race are not on par with Americas. To see the audience react this way felt odd, as if I had been transported to America. I almost feel like the film set race relations back! Ultimately, an interesting horror but more of a 'cheap shot' at evil ol' Whitey. The depths are never really explored.
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This is an excellent movie
perica-4315127 June 2018
This movie is pure gold. It has nice twists, works on deeper levels, has some fascinating premises, is acted well, is original. Really, really nice job.

It is always nice to see movie with some twists, and also those that give you some food for thought. But sometimes the twists are for the twist sake. This is not the case here. Everything makes sense, and in more than one level. The atmosphere of underlying racism is done in a way that makes people from across the world, who did not have contact with USA slavery issues, get good insight. But the movie is so much more than this, and will surprise you, make you think and leave you intellectually and emotionally satisfied. So few movies can do this as competently and decently as this one. This is one smart movie.
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A deliciously wry slice of cinematic paranoia served with a side of cathartic humor
greenmemo25 February 2017
I was totally blown away by "Get Out". This is one of the best turns by an actor behind the camera I have ever seen (Jordan Peele). Probably the timely social commentary is going to loom heavily when discussing the film; however this shouldn't conceal the fact that this is a masterclass cinematic work that has been thought out to the very last detail; it knows what it wants to say and how to say it, balancing wildly contrasting tones and defeating potential clichés with stylistic bravura. Of course everything stems from a rock solid script, where the plot points are cunningly engineered, and then fleshed out in a disciplined and take no prisoners kind of way. There is much to admire and enjoy here, including some surreal imagery that is as stunning as it is disturbing, always serving a purpose within the narrative; there are also brilliant soundtrack choices and you get subtle nods at the masters that came before (Kubrick and Wes Craven, specially). The plot involves one of those frequently visited "fish out of the water" type of settings where it's up to the director to make the most out of it. Which fortunately is the case here, since you get plenty of real character development and a tight, innuendo ridden dialogue that really gets under your skin. All this, together with the inspired camera work, contributes to the success of this tricky enterprise as a whole. Kudos to all the actors for going all the way with the provocative premise, considering that it could have totally backfired in less confident hands. Everything amounts to a deliciously wry slice of cinematic paranoia served with a side of cathartic humor that appropriately reflects the political times we are living in. And make no mistake, this is a true horror film that refuses to pull any punches; if you thought that Peele was just going for the laughs and the cheap scares you will get more than you bargained for. "Get out" will shock you silly and will make you think. Then you will want to watch it again and try to figure out how he pulled the trick.
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Regressive Racial Politics Infect an Otherwise Interesting Horror Flick
jaredpahl3 March 2018
Warning: Spoilers
Get Out has proven without a shadow of doubt that in today's Hollywood, critical praise has less to do with traditional cinematic qualities like strength of story, richness of character, and technical craftsmanship, and more to do with a film's relative scale of "wokeness". The blackest, gayest, most leftist movie wins. Jordon Peele's directing debut hits high marks on the traditional criteria. It's a refreshingly original horror movie with some good performances, and it's staged well by the less funny half of the comedy group, Key and Peele. In a sane world, that would be all the movie is. But... and it's a big but, Get Out is a race movie. A race movie whose regressive views on black/white relations made it a sensation with critics, and a frustratingly divisive ordeal for me.

The biggest strength Get Out has is that it is an original piece of work. Underneath all the flashy racial business dominating the conversation around the movie, is a very cool horror movie premise. A family kidnaps young, virile strangers in an attempt to ultimately live through their bodies. It's interesting as written, and when things heat up towards the end of this movie, it leads to some electrifying, sustained tension. I wish that that was all the story had on its mind, but it's not. No, the movie has to bring race into things. The evil family doesn't kidnap just any young, cool, or physically superior bodies. They only kidnap black people.

The message of Get Out can be debated. Is it a critique on standard white racism or the subtle racism of white liberals? Who knows. I read it as the latter, but any way you look at it, Get Out ultimately concludes that "Black people ought to be scared of white people". And there lies the reason this very well done horror movie has to get a thumbs down from me. The portrayal of the relationship between black and white characters here is the dictionary definition of 'regressive'. Every black person in the movie is distrustful, and scared of white people, and the white people in the movie... well. The white people in this film are all irredeemably evil, which is deplorable in its own right, but Peele undercuts even his own metaphor by having them behave unlike any human who has ever lived. These are an alien's version of what evil white people are like. They gleefully discuss their love of black bodies (which nobody has ever done), and their dialogue is so tin-eared, performed with such rote formality that it's impossible to take them seriously as characters. They aren't characters. The white people in Get Out are evil aliens, every single one of them. Most troubling about this is that these are meant to be stand-ins for society at large.

Jordan Peele wants to make a point that even though overt racism has settled down in modern society, subtle racism is worse than ever. It is a decidedly ugly view of people, one designed to stoke the flames of fear and distrust; to drive a massive wedge between whites and blacks until we share no common ground. When it is revealed that this evil white conspiracy stems from their jealousy of black people, I just about lost it. This has to be the most ass-backwards anti-racism movie ever made. It's not a call for understanding, it's a paranoid revenge fantasy, and it made me sick to my stomach. White people leave the theater hopeless (There is nothing they can do to redeem their evil ways. They just have to be killed), and black people leave the theater more fearful and distrustful of white people than when they walked in (Even the people who don't seem racist are out to get you).

The racial politics of this movie are borderline reprehensible. For all Get Out has going for it, and that is a lot (Daniel Kaluuya delivers a great, subdued central performance, LilRel Howery provides some fun comic relief, and Jordon Peele keeps the tension high), it's all ruined by the very thing that is responsible for the movie's absurd critical fawning. What really sucks is that had this movie been a straightforward horror mystery, it would have really worked. The race angle, as it is, provides nothing of substance, and worse, it's malicious. What could have been a terrific horror flick is strangled to death by a message movie that actively preaches fear. Of course critics love it.

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Jordan Peele debuts in style
totalwonder23 September 2017
Warning: Spoilers
Get Out provided me with something I long for. The debut of a new filmmaker that makes you look hopefully into the future. Jordan Peele has done just that. He wrote and directed this smart, elegant film and even made us find a new way to classify it. Horror, comedy, drama, social satire. What matters really is that it's a first of sorts and then some. It introduced me also to a major talent in front of the camera. Daniel Kaluuya is sheer perfection. As an actor he projects and provokes empathy. Whatever your race or races you will be in his shoes, feeling what he's feeling. I was him, throughout. The gasps of fear mixed with the bursts of laughter from the audience - me included - made Get Out one of the most rewarding film experiences of 2017. Kudos also to Bradley Whitford and the phenomenal Catherine Keener. They are terrifyingly recognizable and what about Caleb Landry Jones? Menacing enough and comic enough - he reminded me of Peter, Chris Elliott's character in Everybody Loves Raymond - to be all the things he needed to be. Perfect. As is the human relief provided by the wonderful Marcus Henderson. As you may gather I'm celebrating. So, Mr Peele, thank you very much.
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Ripp off
kfgfktflytghflg29 April 2018
A rip off of The Skeleton Key. The fact that Peele stood there at the Academy Awards all emotional in his speech, acting like he wrote the script is ridiculous. Universal made both pictures, that's why there's no plagiarism law suit. It's a good story (TSK is a much better movie though) and with the gender and ethnicity of the main characters switched (white girl vs black family doing vodoo in the Skeleton Key) and after Oscars So White, it hit the Zeitgeist. That's fine. But Best ORIGINAL SCREENPLAY for Peele? What a joke....
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Tweetienator25 April 2017
Warning: Spoilers
Someone remembers the movie Skeleton Key (2005, with Kate Hudson!)!? Well, Get Out is basically the same plot, whereas in Skeleton Key the transferring of the soul or whatever is done with black magic in Skeleton Key a neurosurgical procedure gets the job done. So the plot is mostly (besides the well-done clash of black and white folks culture) a copy cat (as Skeleton Key plays in the deep South we got also a little of the element of black/white culture contrasting).

If I would have to choose one of both movies for a cinematic night I would watch Skeleton Key again - the dark atmosphere is far more superior and the suspense also. Also, the end is far more delicate.

Get Out has some strong points - good actors, good production and especially the strange circumstances and the growing paranoia of our hero are well done.

On the other side, the movie has some weak points too - imo the (re)solution is hasty done, also there are some (important) mistakes - how our hero got the stuff into his ears, as he was bound to the chair!? And the brother didn't see the stuff in his ears - he was clearly checking if the "sheep" is asleep and knocked out. Also didn't our bad girl see (in darkness!) the blitz of the phone - she should know that the possession/control or whatever of the host is broken, so she would never give the gun to her "grandfather". Also the comedy- element is a mixed up experience - some of the subtle comedy elements I liked, tiresome for me was the black buddy stuff cliché: comedy Kitsch zillion times done before - it was (partly) funny with Eddie Murphy in the 80s and maybe you got away with it in the 90s but now...

And whereas a good horror-movie mostly has a bad end for the hero (Kate Hudson loses in a certain, surprising kind of way the struggle for her life), the director didn't have the guts to make a "good" end - ofc our hero should be shot by a cop or ride the electrical chair.

Why!? Because the mad comrades of our good evil family would ofc "delete" all pieces of evidence of crime there will be just one solution left - our black guy would be sentenced for mass murder, or who would believe his story, as many "decent" white folks would testify against him!? Btw - isn't that the point of a racist society!? ;)

This p.c.-ending is imo too much of fishing for compliments or sucking up to the common mainstream agenda - and a good horror movie should everything but be p.c.

In short - I was entertained and I like many aspects of the movie (especially all the actors), but in my horror collection Get Out won't make it into the top 100, maybe top 250 but even that's not for sure. The script/the story just is not good enough. Get Out: a little "horror" snack (the horror-elements are just a few, it's more a comedy and thriller). Not more but no less. Because all this biased overrating I rated 1, my real rate is 5.

note:imo the political agenda or bias of many of the reviewers and the votings (with black actors as main characters) is ridiculous - masterpieces like Blade Runner got a rating of 8.2 or Apocalypse Now one of 8.5 and Get Out got 8.1... I've become accustomed to subtract 2 to up to 3 points (deciding if I watch or not) if a black actor is involved as the main character(s) - not because of racism but because the ratings are f***ed up and I can't trust them (like all those fake reviews and ratings in the beginning of any movie initiated by the studios) - Get Out is just another proof of this hysteria.
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Someone is definitely playing tricks with ratings here. 7.7 just does not make sense
skhds19 September 2018
There is no way this movie could have a rating over 6. There is ABSOLUTELY NOTHING NEW in this movie, no new concept, a fest of cliches, even the twist was almost a copy of another movie "Skeleton Key", which I did not enjoy even. And if a movie calls its own genre "thriller" or "horror", then the movie should keep some level of atmosphere, to make the audience tense up to some point. Not saying that the atmosphere was even there, it was made even worse by inserting some random jokes in between the movies, which of course wasn't even humorous. And the character development was the worst thing in this movie, as some character shows passionate caring attitude and all of the sudden he/she turns into a complete psychopath. It was so abrupt that he/she would even change the way he/she speaks to a person that's not even supposed to know something happened. One of the key evidence that this movie was made without brains.

Let's just be honest. The movie makers only cared about making profit. Mixing horror, comedy, and not forgetting to insert white-is-evil rich-is-evil theme inside with a black person as main, so that you can call all negative reviewers "racist" (and sorry, I'm not even white). Then using some way to make people spam positive reviews, most of them which I highly doubt even saw the movie. I honestly think more effort, money was spent on making positive reviews rather than the movie itself. Hence the "low budget" movie.
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Best ORIGINAL Screenplay????
pauldaguirre27 February 2019
In this era of disposable entertainment where we have no cultural memory (and, I fear, no cultural future), and people are living only for the next best thing, is there no one who recognizes that this movie is almost a head-on remake of Ira Levin's The Stepford Wives (1975)? Substitute racism for sexism and mix liberally, no credit given to the original author. The fact that not even the Academy could recognize the wholly derivative plot shows how far we have fallen as a moviegoing public. In all likelihood, even Jordan Peale probably believes he wrote an original script. He didn't. And that's what's terrifying about Get Out.
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A typical PC mainstream overhyped film
Gunnar_R_Ingibjargarson9 February 2019
Get out, is no doubt a fine horror film, but it ain't anything special. A young black man visit along with his white girlfriend her parents. It's pretty obvious shortly that this is a very politicial horror film, based on very stupid liberal agenda. And the only reason this movie was made, was to please the new PC generation. Like I said it's a ok. horror film, nothing more.
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Does not live up to the hype
taurenpaly29 August 2017
Warning: Spoilers
I regret paying for this on blue ray. The hype gave more to this movie then it deserved. As it was from the makers of Insidious and conjuring, I thought this might be something enjoyable, since those movies are campy, fun, roller coasters horror movies, that are set in a less then believable world, so you can suspend your suspension of disbelief for them.

This movie has none of that element to it. While the acting and cinematography is fine in this, much like the conjuring and insidious, that however is all the good I can say for this, similar cinematography.

The plot however ruins it. And I'm just gonna spoil the ending of the movie for you so you don't waste money on this.

The big surprise of the movie is the family, including the daughter who's in on it, use hypnotism to break any black people they make friends with slowly, so they can prepare them for operation to remove most of their brains and have it replaced with white peoples brains, so they are white people walking around in black peoples bodies.

The main character gets away in the end BTW.

I cannot help but feel that the reason why this movie was given so much more hype then it actually deserved, was because despite how the movie went along, the writers made effort to make every white person in this movie into a villain, and every black person to be innocent victims. If they made a movie like this but did the reversal of skin color on all the cast, there would be screams from racism from social justice warriors today, but its okay to make every white person in this movie evil. Thats why this movie got all the hype it did, because even if its a bad story, as long as all white guys are vilified and all black guys are saints, its perfectly fine. And no, I'm not racist saying that, this is one the fault of the movie makers awful storytelling.

Do not buy this movie based on the hype it was given. Only get this for the cinematography.
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Lame horror film tropes and racial stereotypes sink comedy writer's directorial debut
Turfseer20 April 2017
Warning: Spoilers
Get Out is the directorial debut of comedy writer Jordan Peele who has taken a page out of the Quentin Tarantino wish fulfillment fantasy playbook. Unlike Tarantino, Peele operates in the much more lucrative horror genre, his film grossing $184 million worldwide against a mere $4.5 million budget.

Peele's protagonist is black photographer, Chris Washington, who agrees to visit his white girlfriend Rose's family (the Armitages) in an upstate suburb. While driving up to the house, there is a bit of foreshadowing of even stranger things to come, when Chris and Rose unexpectedly hit a deer and then have an unpleasant encounter with a state trooper where Rose can't conceal her contempt for law enforcement in general.

Before even meeting the parents, Chris is unnerved by the almost zombie-like behavior of the black groundskeeper and housekeeper, Walter and Georgina. Rose's parents, Dean, a neurosurgeon and Missy, a psychiatrist/hypnotist are depicted as white liberals, with Dean proudly telling Chris that he voted for Obama twice. Rose's brother Jeremy is unable to control an ingrained hostility and has little to do except attack Chris later on when it becomes clear the entire family suffers from a malevolence usually associated with typical horror film tropes.

As for the plot, somehow Chris (due to losing his mother in a car accident when he was a kid) is susceptible to Missy's hypnotic commands, sending him to "the sunken place" where he appears to not only lose consciousness but finds himself at the mercy of the creepy Missy. Soon a coterie of Armitage family friends show up at an annual get-together and it becomes clear that all these white folks are part of a conspiracy to subjugate black people through a series of actions that defy all logic.

For example, when Chris takes a picture of Logan, a recently kidnapped black man from NYC, the camera flash causes him to become hysterical and yell at Chris to "get out." Quite conveniently, the flash isn't enough to break Logan completely out of his fugue state nor is Chris able to simply walk away and call the police, as the mere tapping of a spoon on a tea cup, causes Chris to fall back under Missy's spell.

Peele's universe proves even more ridiculous when Rose is exposed as part of the family conspiracy to grab Chris and plant the brain of Jim Hudson, their older blind art dealer friend, into Chris' head. Somehow, this time, Chris breaks free of the hypnotic command and is able to contact his TSA agent friend, Rod, in NYC, who all along suspected that there was something very sinister afoot with these "crazy" white people.

The wish fulfillment is on display when the stereotyped white liberals get their comeuppance at the hands of the noble Chris. Peele does a great disservice to true victims of racism by reducing the tormentors to a group of straw men and women who are easily set aside. In real life, of course, racism is a far more complicated affair and sometimes the victims turn out to be as bad as their oppressors.

Get Out marks a new low in race relations with Peele setting a poor example for impressionable youth. Instead of trying to mend fences, Peele is content to present African-Americans as perennial victims at the hands of stereotyped white tormentors. No race or ethnic group has a monopoly on benevolence despite Peele's lame and misguided outlook to the contrary.
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Race baiting, hyped and oscar for what?
zacfil_60713 December 2018
This movie is absolute garbage. The only acting worth mentioning is the main character's and the overall plot seems to be written by an angry black teenager. The "racism" theme you find here isnt anything related to the real world like 12 Years a Slave or Django Unchained. I have no idea what granted Peele an Oscar for this film. Ive seen B movies much better than this and seeing someone go from comedy to Director you'd be 100 times better off watching A Quiet Place directed by John Krasinski. This movie left me feeling annoyed in the fact that ive wasted money and time on it; even The Emoji Movie is more entertaining than Get Out. Save yourself and read a synopsis and skip the actual watching part. 0/10 if i could give it.
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This is Not a Horror Movie
shannonlong63620 August 2020
As a huge fan of horror movies I was really looking forward to this one because the premise was fairly unique and you don't see a lot of horror movies that are written and directed by, and also star, black people. I was disappointed. Let me get one thing straight. This is NOT a horror movie. It's more of a social commentary wrapped in a strange mystery. It wasn't scary, nor was it particularly thrilling. It was slow at times and it ultimately failed to deliver the twist in a way that you wouldn't have anticipated. I have no desire to re-watch this one. One viewing was enough for me, so I can't give it anything above a five.
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Not worthy of 8 - pretty predictable and boring -
filmtravel1013 March 2017
Warning: Spoilers
The film is pretty basic and is fairly slow with loads of stereotypes that really is not much horror but dark anti white comedy which is sad to even say is appropriate in any scenario.

The acting of the main lead is good yet the rest are just plain silly and the plot is pretty obvious once they get to the house and the ending is obvious also. Not once was I shocked or feeling like it was a Scream or horror film or even like Hostel which it really feels like at times.

I do not know how people can rate it 99% on rotten tomatoes. A 3 star for the acting and the directing was good but the story was just silly.
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WTF Is This...Stepford Thugs..?? Warning: Spoilers
This has got to be one of the most OVER-RATED crappy movies that I have ever seen...100% on Rotton Tomatoes basically tells me that someone has either been paid quite a bit of money to buy a bogus review...Or somebody has sold their soul to the devil...

Daniel Kaluuya And LilRel Howery Were The Only Good Elements To This Stupid Movie...Daniel's acting was good...And Lilrel Howery was actually quite funny...Plus I did like the revelation surrounding the lead character's girlfriend...The fact that his girlfriend was using herself as bait to lure people into this (so-called) nightmare was a very nice twist...

Other then that...This movie is idiotic and stupid...First of all...The main character was an idiot...Because once he realized that snapping a picture with his cell phone would bring black people back to reality...He could have had himself a lot more backup...So he gets the moron of the year award for that alone...

And then there's the most pathetic excuse of a so-called surprise twist ending that many fans actually enjoyed...The ending to me felt more like an offensive punchline to a very dumb joke...Putting old white people's brains into the bodies of black people so that the superior white minds can control/possess the bodies of black people with superior body genetics..??

Even Adolf Hitler would have found this idea to be extremely stupid and moronic...Combine Hitler's idea of creating a master race...With that old concept: "If you can't beat em, join em"...And you got this stupid movie...I can't wait for the inevitable backlash that this movie is gonna get in the long run...That's what I'm hoping for anyway...Because Either I Have Bad Taste In Movies...Or Everyone Else Does...Because "Get Out" Sucked...And That's All There Is Too It...
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Massively over hyped
nigepitz29 June 2020
This movie received incredible reviews at the time of release and so I watched it with great anticipation. However I was hugely disappointed. It is nothing more than a run of the mill horror with a nasty, thinly veiled message beneath it that all white people are racists. Whilst the premise is interesting, it is played like it's either a pastiche or an Am Dram production with a hint of Hammer Horror. The plot has no surprises and by half way through it has become boring.
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One of the most over-rated things I've ever seen
jcramirezvarela6 January 2020
Really disappointed. Totally predictable movie. Some parts really dumb, like the one at the police station when all agents laughed. In short, this movie is a waste of time.
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Thriller seen from fresh eyes
pontus-randen13 May 2017
Fantastic! I would not call it "horror" but certainly "thriller" with some comedy thrown into it. This Jordan Peele fellow has managed to bring something new to this genre and I certainly hope he'll do more thrillers.

The cast is great and I especially enjoyed Betty Gabriels performance. Lots of faces I have never seen before and they all did a stellar job. And those faces I have seen before did a stellar job, too. =)

I do not know if the overall idea is new but the way it was presented and the way it was done feels very fresh.

Warmly recommended!
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A rare triple-threat genre film
Movie_Muse_Reviews12 May 2017
Horror tension, mystery tension and racial tension blend together into a gripping and formidable nail-biter in "Get Out," the astonishing directorial debut of Jordan Peele. The former half of the comedy duo "Key & Peele" has found a way to both honor and subvert the thriller and horror genres in a way that's unmistakably modern.

In the tradition of "The Stepford Wives" with the twist of "Guess Who's Coming to Dinner?," the story follows a young black man named Chris (Daniel Kaluuya) who goes to meet his girlfriend, Rose's (Allison Williams) parents at their fancy estate where things go from slightly uncomfortable in terms of Chris being black to deeply messed up in one slow but inevitable fell swoop.

With a creepy opening scene showing a different black man getting abducted in a peaceful-seeming suburb, the tone is set immediately that there's cause for concern. Luckily for Chris, Rose is really sensitive to issues of race and prejudice, and even when her parents (Bradley Whitford and Catherine Keener) or brother (Caleb Landry Jones) seem to make Chris' blackness into a thing, the two handle it as best as any interracial couple could. The warning signs come in the form of the Armitage family's black help, maid Georgina (Betty Gabriel) and groundskeeper Walter (Marcus Henderson), whose behavior is anything but normal.

Peele sets a tone of creepiness largely with the help of composer Michael Abels, also making his feature film debut. The unpredictable nature of Georgina and Walter as characters, the ever-increasing suspicion of all the white characters and the way Peele keeps you nervous about who or what is just outside the frame fuel the fear and paranoia as well as if not better than any horror movie featuring more overtly malevolent forces does.

Kaluuya, in a role that will deservedly put him on the map, gives a performance that will connect with viewers who identify with Chris as a man trying to feel comfortable while out of his element experiencing strange things, and those who truly understand Chris' experience as a man of color undergoing the very same events. It would be fascinating to know the different ways a black viewer would experience the film compared to a white one, but the most important thing is that everyone will identify with and feel for Chris.

When a little horror film debut like this one gets talents such as Whitford, Keener and Williams, you know the script is good. Peele keeps up the air of mystery a long time even without packing in very many unexpected twists. The awareness of something being wrong but not quite understanding what it going on or why despite getting new information is a real strength of Peele's writing. Then of course there's the brilliant ways that race and the black experience make it into the film. If that weren't enough, Chris' best friend (LilRel Howry) provides comic relief in a way that's stereotypical, yet Peele uses him in unexpected ways. So we get to benefit from Peele's nose for comedy as well.

Not everything adds up by the end of "Get Out," but the film plays out in extremely satisfying fashion. Fans of horror and fans of thrillers who don't mind horror when it's done well should both enjoy the technique and experience. It provides thrills of the pulse-pounding, thrill-seeking and thought-provoking variety and few genre films can say the same.

~Steven C

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