Get Out (2017) Poster

(I) (2017)

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Refreshing and original
Aaron_Kyle19 July 2019
From hit or miss comedy to Get Out, Jordan Peele proves to us that he has certainly matured as a film maker.

Get Out is one of the best and most refreshingly original horror movies in the last decade. Rather than having in your face predictable jump scares and cheesy music, Get Out dwells on the mind and relies on the fear of the unknown while giving subtle messages on racism and what's it like to be black in America and for an anti-racism movie everything is handled very well due to Peele's great writing. As I've already mentioned the best aspect of Get Out is the writing; the characters are intelligent people and behave like logical human beings instead of cliché horror movie idiots. Everything happens for a reason and there is a meaning behind everything. Also unlike other horror movie clichés Get Out doesn't fake its scares or replaces them with needless humour. Instead the humour (mainly Lil Rel Howery's character) is perfectly balanced with the story and shows up at adequate times.

Creepy, unsettling and filled with brilliant performances (primarily from Daniel Kaluuya) and even better writing, Get Out perfectly represents the US society in its current era.

Final Score: 8+/10
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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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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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Racism is Thoroughly Criticised in This Well Made Thriller! Good US Film!
hilaryswank201124 September 2017
Warning: Spoilers
I was pretty surprised that this film was turned out to be an anti racist movie!

The story is simple enough that African American Chris goes to his Caucasian girl friend Rose's parent home where every one victimizes African Americans for their body transformation.

The killers' motive is more religious cult than human trafficking. This topic is common in the latest Asian films which criticizing stealing parts of victims' bodies to sell for upper class millionaires.

Technical feature is pretty common. For instance, the most crafted VFX is when hypnotized Chris draws into the liquefied floor in flush back sequence. Surreal expression is well done in this sequence.

I'm afraid of this filmmaker's courage to make a white versus black film in present. However it is not that kind of propaganda, it just belongs to black comedy. And it also embodies ideological racial phobia of Caucasians after Obama regime appeared in US history.

It deeply expressed the Caucasian's racial fear to more empowered African Americans and their historical revenge.

This film physiologically well expressed Caucasian's minds in the US society in post Obama era.
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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 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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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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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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Reverse racism is still racism
lordzedd-312 January 2019
Warning: Spoilers
Chris Washington and Rose Armitage are off to her hometown so Chris can meet her parents but what begins as a GUESS WHO'S COMING TO DINNER turns into a nightmare as Chris learns that Rose was leading him into a trap. The whole concept is interesting but here is my problem with it. I think it's incredibly racist. And just because a black director said all white people are evil and only want to be black. If one white character, just ONE was not evil or in on it than this would have been a great movie. But if a white director created a movie about a whole town of black people were evil monsters than Politically Correct Nazis would be burning him at the stake. And rightly so, then how the fuck is this acceptable? How is being okay being racist against white people okay? Racist is racist or do people actually being only white people can be racist?
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Racism is Scary, Get Out is Not
aamajor27 March 2017
Warning: Spoilers
I finished watching Get Out over 2 hours ago, but something has been bothering me since the credits rolled. A sort of unpleasant, irritated feeling that I couldn't really put my finger on until now. My biggest complaint about this horror film is that it's not actually as scary as the real life social problems it constantly hammers the viewer over the head with. It's campy jump scares and unbelievable premise, drown out the anti-racist message it could have had. In that way, it fails both as a horror movie and constructive social commentary.

Most quality horror movies take real life events and intensify them to create something terrifying but relatable. The Shining was much scarier than my trip to Colorado. The Blair Witch Project was more intense than my last hike. Psycho was slightly more unnerving than my last stay at a motel.

Modern racism and the history of slavery are among the most disturbing and evil aspects of the human experience and something countless people suffer from daily. It is real and it is scary. So why add B-movie brain swaps and fortune-teller hypnosis? Why base the story on a cheesy fictional premise instead of something that actually happens? Why make all but two of the characters completely one dimensional? (Keep in mind, that Chris and his friend are the only characters in the film with both a conscience and their original brain, all others are lacking one or the other). Why does a flashing light reverse brain transplants? Why would a racist white family, lure black men to them by using their own daughter as a sex object? The answer to all these questions is lazy writing.

If you want to create a jarring horror movie rife with social commentary about racism at least root it in reality. Sadly, past and present, there is no lack of inspiration. I get that this movie is a very heavy handed allusion to slavery, but of all the awful things white people have done to black people, goofy brain swapping business isn't one of them.

I don't get why this movie has such overwhelmingly positive reviews. The cinematography and acting were good, but the plot was trite, compared to all the different directions they could have taken it. The idea of a racially charged horror movie with a black protagonist and white ghouls sounds really interesting (why I wanted to see it), but Get Out just takes that idea and slaps it onto a 50's B-flick.
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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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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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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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Get Out is a racist movie
charliejsch19 March 2017
Warning: Spoilers

First, let me say I loved Key and Peele's comedy sketches. They're refreshing and make light of racism in America. However, their movie is not as good as the reviews say it is.

There isn't one good Caucasion in this movie. Every single one is racist, egocentric, deluded, deceitful, immoral, and the list goes on. Every single African-American are down to earth, authentic, humorous, and so on. During the movie, I was watching evil vs good or black vs white, which was clear as day. However, this is an anti-racism movie, isn't it? Then why are there so many stark contrasts? Abolishing racism isn't about creating two polar opposites, in fact, that is exactly what racism is!

If you want to create something with any sense of seriousness, then make something that shows reality: show that doesn't matter what ethnicity you are, you are capable of good and bad. What was the point of this movie other than to show how horribly evil Caucasians are, oh an one Asian guy?

Unfortunately, the comedy is lost within all this nuanced racist rhetoric. I'd rather describe this movie as a light torture-porn with subliminal racism. If the movie was described as that, then I could give it a 10/10. If this was based on reality then I could accept it as such but it's not(like portraying history). As Foucault and Morgan Freeman tried to express: it's time to get rid of the barriers and rather celebrate the unity.

If you don't quite understand my point, imagine this movie but reverse the races. Imagine the hero is running away from African-American hypnotizing slavers because white people are, I dunno, in fashion? Wouldn't be so funny anymore, would it? Even if the context of the movie was satirically humorous, the theme alone would brand everyone involved a racist.

If you like this movie, then good for you. However, see it as it really is - not an ant-racism movie. That, it certainly is not.
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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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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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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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It sucked
bmcalderon-8338327 February 2017
Warning: Spoilers
This movie has the worst plot I've ever seen in a horror movie. It's right there with all the Jeepers Creepers movies. The fact that white people want to use black people for their own personal happiness is what really gets me. This is seriously the highlight of the movie. Somehow all white people want to use black people for their bodies. Another form of slavery with a terrible horrible film twist. Not only is this premise terrible overall, its very unbelievable. A skinny tall flat chested/ no butt white woman seduces black men and takes them home to become her parents experiments. And somehow no one goes out to look for their black family members. No one cares. People just go missing after dating a white chick and no one cares. Oh yeah at the end of this movie, the black guy someone how survives and his friend comes to his rescue in a cop car. His friend wasn't even a police officer, he worked in an airport. This movie is a complete WASTE OF TIME! It sucks
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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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Can't think of a good reason to recommend this!
UnderworldRocks24 April 2017
Warning: Spoilers
Can't think of a good reason to recommend this.

A black guy visited his white girlfriend's family estate only to discover the family's dark secret. What would happen? Could he survive? That premise drew me to this movie.

The movie seemed suspenseful, but concluded poorly. As the dark secret unfolded, I noticed some similarities in concept between a movie released over 10 years ago and this one. After I finished watching this one, I realized that a movie released over 10 years ago could wipe the floor with this one. That movie released 10 years ago is called The Skeleton Key.

The Skeleton Key has a perfectly dark ending, whereas this movie has a happy and funny one. Happy ending? OK. But being hilarious is a big Nono. It completely ruined the horror built up during the first 1 hour of the movie! What is the point of having the black police officer coming to Chris' rescue? What is the point of having this funny character in the first place? The movie would have been 10 times better without him!

Instead, the ending the audience got was rushed and underwhelming. The black police officer out of nowhere appeared and rescued Chris. When asked how he had found Chris, he simply said he had relied on transportation network to track Chris. Situation handled! Really? How funny.

Perhaps the filmmaker ran out of ideas and didn't even know how to conclude the movie. Personally, I would have loved to see a dark ending. The white police officer who appeared earlier in the movie would arrive and arrest Chris. Rosy lying on the ground with gunshot wound in her belly would scream for help, framing Chris for murder. After all, Chris touched the gun and his fingerprints were on it. The movie wished to express the oppression of black people in a white society, right? Chris getting locked up and prosecuted would suit the theme perfectly. Nobody would believe his story. The ending would be even better if Rosy was rescued and set free, continuing to ensnare black people for her cult white secret society's harvest and sacrifice. Wouldn't that have been darker, more logical and exciting?

The current ending is awful. It completely ruins the story. This movie is awarded 1 star for decent acting. Recognized the lead from Black Mirror. He's really good.
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White People Are Evil, Black People Are Good The Movie
aaronjamesmaximus28 March 2019
Warning: Spoilers
This movie is sort of mocking liberal elite who love black to an obsessive level and yet most of the positive review for this movie are by white guys who think anything made by black people is gold. The movie is not scary it lacks tension Jordan Peele should go back to writing terrible sketch shows on un-comedy central. For instance most scenes where the main character is under duress he is constantly narrating giving out exposition so the audience can understand rather than let the scene flow naturally like something a film student from kansas and they don't even have a film school, film is about motion and visuals not dialogue if you want that go read a book. Everyone who is white in this film acts like a weirdo jerk for the most part and the main character doesn't pick up on this until near the end of the movie because he's an idiot and if he wasn't the plot wouldn't work. Jump scares don't make something scary any idiot on youtube and windows movies maker can make a jump scare. Does it have any meaning? No. Does it make a horror movie good? No. Don't rely on jumpscares to make your movie even remotely scary because it's just momentary and after a few times the effect wears thin and just gets annoying. You should create an atmosphere slow build up the horror make the music tense, or have no music at all just silence with graphic imagery, visually stimulation, or dark and foreboding. There are many ways to make a horror movie scary jumpscares and stupid characters aren't one of them. This film is more of crime drama with some fantasy elements and a blatant political message anyway. If I go to see a horror movie I don't want to be hit over the head with a political agenda if you're going to that at least be subtle about so it doesn't ruin the film make it a black mess. Long story short the black guy kills all the white people and when the cops show up doesn't get arrested is hailed a hero and his fat ugly friend who is a ringer for peele jokes about how stupid and evil white people are. THE END
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If the roles were reversed..
Short review. If the races were switched as to whom was the predator and whom was the prey, there would be national outrage and this would be a boycotted and hidden film. There are limits, in my personal opinion, when you become too psychological, too propagandizing, in narratives that are inappropriate for society. With an age that is strongly pushing an anti-cop, racist, and white-privilege tone I could not get past the obvious intentions to shape, or at least strongly influence, public thought towards problems that back-room backers seem to spare no opportunity to not be involved in to achieve societal perceptions. I get tired of the double standards that exist where for some, it is OK to unfairly demonize a race depending on which race it is. I largely reject the anticipated arguments of lavish praise for efforts based on history that simply is not the present, or simple artistic expression. When America is a place where all methods of "artistic expression", or religious expression for that matter, are equally protected and not shut up based on threat of violence, advertiser boycotts, or "hate speech", perhaps I might change my views. This movie, to me, was as clear of an attempt to hide anti-white propaganda under a guise and found the film to be disgusting and racist. Racism towards white people is not "reverse racism" (the term alone being another evidence of how skewed society has become) or somehow different than any racism towards any race. This is racist. Plenty of films have been banned, boycotted, and protested for doing much less than the rampant anti-white themes throughout this film.. and yet, due to prevailing voices, racism is indeed alive and well as the film broadly wishes to convince viewers of.. only not in the way intended by the production team.
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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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