Get Out

It’s really is a new dawn for horror movies these days…
Five odd years of intelligent (if divisive) fear flicks have beefed the genre up beyond the torture porn or reboot filled previous phases the horror movie has endured and never has this been more evident with Jordan Peele’s fantastic Get Out.

Smart, creepy and suprisingly funny (or maybe not considering Peele’s comedy roots) Get Out is an early, hugely solid contender for not only horror film of the year, but when 2017 is all said and done, one of the best MOVIES of the year.
There really isn’t anything more fun than when a director really gets his audience, not by playing to the crowd, but by crafting a movie that works on so many levels and Peele has really nailed something here.

Daniel Kaluuya plays a young black man heading into the suburbs to meet his white girlfriend’s family for the first time. Nerves are running high but things seem fine if a little socially awkward with the family coming across as too racially right on (“I would have voted for Obama a third time if I could.”). Things take a rather more odd turn, however when on arrival he meets the hired help, the grounds keeper and maid, both African American, both VERY odd. As the weekend goes on, paranoia grows thanks to the “help” getting progressively wierder, a bout of unwilling hypnotism and an excruciating town gathering David Lynch would be proud of.
Soon things start to get out of hand and thankfully, not in the ways you’d think. The film’s trailer makes things out to be a “rich white folks be racist” kind of deal but the script is far more intelligent than that, skillfully dropping revelations and motivations to keep the audience on the wrong foot. Plus it does for tea stirring what Psycho did for hotel showering and Jaws did for nighttime swims.
I feel at this point anything more I say about Get Out is going to spoil things, needless to say that I would consider Jordan Peele sticking with the horror genre a film or two more a personal favour. Horror and social commentary go hand in hand like no other (consider the works of George Romero or Wes Craven) and Peele nails the racial undertones like no horror film since the original Night Of The Living Dead. The events are happening because of the colour of the protagonists skin, so the film doesn’t shy away from it, but it doesn’t get preachy either.

Socially important Get Out may be, but it’s also a great audience-pleaser, I strongly advise all of you to see this movie with a full house on a Friday night, it gets a GREAT reaction.
Get Out? Get in!

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