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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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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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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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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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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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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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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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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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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Don't Miss The Point
sajid_musa22 February 2018
Ok here goes. Having read the reviews and seeing how polarized they were,, I had to check the movie out myself. To all who regard the movie as racist - I don't think so. Any modern day theme be it racism, sexism, disability issues anything can be used in this movie to highhight the issues being faced by individuals. It is for most part a unique genre in its own right. Take dusk till dawn mix it with some eugenics and a pinch of humour and bingo . Yes it does make you feel uncomfortable but not in a serious way. It's funny in places and very clever in bits. Some beautiful shots and filming and menacing score keep it simmering brilliantly. Watch it make your own mind up. Personally one of the most enjoyable movies from last year. Bravo.
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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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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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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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A horror comedy without jokes
Paraszi22 September 2017
the newest film made by jordan peele lives out to the hype that it made.horror comedy is one of the hardest genres(or sub genres) to make a movie about.some good examples would be evil dead 2 and scream.the film actually takes a subject like racism and makes it into a parody of itself.the comedy of the movie is actually really subtle and your'e not gonna walk into the movie and start laughing as a joke comes along.its a realization that can be made while watching the film or after you watched can't be really called a satire of horror movies because it uses the horror movie clichés more than once but the good part is that i doesn't annoy you like a lot of horror movies of the strengths of the movie is that you don't need to be an American to understand the story.a basic knowledge about racism will be enough.but for the clues and metaphors that are in the movie you need to pay more attention and know a little bit more.there are no jokes in the movie and even the comedy relief character lil rel howery doesn't make jokes but sells its comedy by his performance which makes him actually funny and not just an annoying side character like we see mostly in the movies right now.the performances are great and the character choices are rational and logical unlike most horror movies we see today.allison williams does a pretty good job and actually nails the character far more better than i expected.the cinematography is pretty good but it got distracting in two or three places of the movie but it wasn't boring and actually kept the movie pretty good looking.the twists of the movie will actually kinda predictable but that wasn't what the movie was about and i didn't expected to be shocked since the movie doesn't take itself to seriously but serious enough to keep the plot going.the CGI blood were kinda distracting and the movie got slow in a few places but it had the pay-off and you were rewarded after the scenes.the movie is well made and deserves a second viewing in some time and i would recommend it to horror fans or if your'e a fan of subtle humor and comedy.
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Cleverly written with an eerie twist
sly-6483625 February 2017
This movie is appropriately in a genre Mr. Jordan Peele has christened, "Social Thriller". The movie creates a very unsettling feeling from the beginning that slowly builds to a crescendo, that forces the viewer to see prejudices head on. When all is said and done, you now have kind of a bird's eye view of what is wrong with society. But besides that, it hints a Hitchcock-type of thrill that is sure to deliver Goosebumps. A HUGE congratulations to Jordan Peele for hitting a HOME RUN, his first time up to bat. Looking forward to future projects from him. GO SEE, GET OUT. 😀😀
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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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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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Get Out is impressive and awesome. Best horror I've seen in a while!
tharris19022 February 2017
Warning: Spoilers
People will be talking about this one for a long time.

Get Out is an extremely powerful, poignant horror movie with some humor. Whatever elements of action or schlock that are present take a backseat to the real human drama that plays out when Chris (Daniel Kaluuya) meets his white girlfriend's eccentric family.

The characters are fleshed out immaculately, with Bradley Whitford and Catherine Keener in their best performances to date, and Caleb Landry Jones in an appropriately, intensely creepy role. But Kaluuya is the star here, and he delivers with zeal a shocking depth and range of emotions. In fact, more often than not its what he doesn't say that delivers the most impact... which is all to say that this masterpiece could not have been accomplished without the masterful direction of Jordan Peele.

Peele builds atmosphere and tension like the Big Bang, dunking you into the mind of the main character while he navigates through very visceral danger.

If you're looking for a film that sets out to entertain first and foremost with shock and terror, but also with poignant social commentary and real philosophical meat to chew on, Get Out is the movie you need to see. You won't regret it.

This isn't Cabin in the Woods, Peele isn't interested in subverting genre conventions. What he has crafted is entirely original and unique, and thankfully free of clichés or stereotypes.

There are no "monsters" here. The real villains are entitlement, egotism, and objectification, and g.d. they are scary!
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Why you ask yourself
treborquest28 April 2017
Warning: Spoilers
Seriously, when I watched this, it had an 8.1 rating. I wonder why. I mean, has this movie been watched only by people who have never seen classics before? The acting is not natural, the story line is incomplete on all accounts and the entire movie is totally predictable. It's a combination of a couple of movies combined. But the story line is as unoriginal as the title itself. And then suddenly the story switches from the friend point of view, where it seems to want to become a comedy, but it never really does. This is not a horror movie. Seriously, it is insulting to all horror movies ever made to be called a movie in that genre. It is a thriller with some horror filled seconds at the most. It is never scary, it is never really keeping you on the edge of your chair. And on top of that, it's never believable. Especially the 'transplant' part. I mean, hello, it was about hypnosis, remember, and why all the white people want their brain cut in half or something and become a different race. How does it work keeping both identities alive? The other black men and women seem to just be in some kind of trance but who's inside? the husband of the older woman? and did she pick him for being a hot young black man, or what? I notice it irritates me to write this actually. it's badly written and directed, racist and stereotypical and just misguiding of genres. Want to see a good movie? Want to save some precious time in your life? Then watch anything but this.
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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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The epitome of the American horror film
RLTerry124 February 2017
Warning: Spoilers
Jordan Peele's Get Out is an outstanding work of horror cinema, in that the American horror film is the best genre for creatively commentating on the various social, economic, and psychological constructs of life in such a way that can be visually thought-provoking. And the best part about this film is Peele does not pull out any of the usual horror tropes or clichés until the showdown. Before you begin to think that Universal Pictures and Blumhouse are pulling a bait-n-switch–selling you a psychological thriller when the film is really a heavy drama–think again. Get Out is every bit a horror film as its more traditional counterparts. In terms of its contribution to the library of horror films, the movie is flawless. From the writing to directing to acting and even the score, editing, and cinematography, Get Out is a film that you should definitely "get out" to watch. With a current 100% on Rotten Tomatoes, this film is certain to grab prolific attention from movie patrons, film studies, and social studies professors alike. It's a brilliant film to discuss in future American horror film classes. Never before has a film been used in such a creative and visceral way to comment on how one culture appropriates the best of another for purposes of exploitation or simply because it has something that you want, and then attempt to change, assimilate, or remove altogether because that which you want is seen as wasted on the originator. "A mind is a terrible thing to waste."

It is difficult to explore some of the themes and subtext of this film without giving too much away, but I'm going to try my best to analyze what I can without spoiling anything for those who plan to see the movie. The first element I took note of in the film was the choice of music. Not so much a score (although, there is a score to the film), the music selections in the film serve as an allusion to the overall message and theme in the film. For those who know a little something about music history, you may pick up on the strategic selection and placement of the various songs and musical scores used throughout the film. There are moments in which the music does not seem to match up with the mood or tone of the film–at least, at face value. However, as you delve deeper into the film, you will realize that the music fits in all too well with the plot. I'll give you this: think about the origins of the music in the film when you watch it. Before music, such as jazz and hiphop, became popular amongst a predominantly white society, it originated amongst the black community.

Another aspect of the film that hints at the big reveal in the turning point just before the third act is the physique, athletic talent, and sexual stereotypes of black males. You'll notice that clues are dropped here and there, albeit subtly, at the relationship between Rose's family & friends and members of the black community. The worship of Chris' body by many of Rose's family friends makes for an incredibly uncomfortable sequence of encounters at the outdoor picnic. The unsettling weird encounters between Chris and all the people he meets at Rose's family home each work to grow the level of tension and terror in the film–the fear of something dreadful looming on the horizon. Without relying upon a proliferation of jump scares and visceral horror, Peele successfully increases the level of anxiety to terrifying levels in the film. Reminiscent in the ways that Hitchcock or Kubrick may have directed this film–in terms of relying upon the fear of something not visible to the naked eye–Peele incorporates the feeling of uneasiness every moment he can without over saturating the plot. Perfect amount of all the elements that make up the American horror film can be found in this deeply disturbing narrative.

This is social commentary on how back males are often exploited for economic gain in areas such as football, basketball, track, and even music and fashion too. So, Peele was using this horror film to comment on how many in the white community have stolen from or appropriated elements from the black community in order to further their own gain or develop ways of entertaining the masses without proper acknowledgement, formal recognition, or even payment. For example, the jazz music at the beginning of the film. That style of music came out of black culture before it was rebranded high class white music for nightclubs, shows, and weddings. Further evidence of this social commentary can be found in other areas of talent that many want to steel for their own and then reprimand the black community or not being 'more white.' I could go on and on. Fascinating stuff! As it is a horror film, do not plan to see it alone. Horror is the one genre that is best experienced in a group setting.
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