Film Review: Get Out
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While first-time director Jordan Peele's roots may lie firmly in the world of cult comedy, by the time the opening credits of his debut feature Get Out are rolling, it's already abundantly clear that, at its core, this is a distinct step away from that field. The result of this genre shift is a film propelled by a gregariously satirical premise in the style of Guess Who's Coming To Dinner meets The Stepford Wives that, once grounded, becomes an intensely thrilling and masterfully suspenseful exploration of the currently inherent flaws that signify and further expose the distance at which American society stands from becoming truly post-racial.
Following Chris (Daniel Kaluuya), a young African-American photographer, and Rose (Allison Williams), his white nurse girlfriend, the film depicts the couple's timely trip, away from the city, to stay with her purportedly liberal parents in their seemingly homely estate in the affluent suburbs, for the first time. Chris is naturally on the apprehensive side, as any man would be in his situation, though even more so when he finds out that Rose hasn't yet told them of his skin colour.
Despite his obviously well-reasoned trepidation, upon their eventual arrival, it appears that there was nothing to fear. Rose's parents are incredibly welcoming almost to the point of overkill, in particularly her father Dean (Bradley Whitford). There is this arcane aura of enthusiasm about him, which first comes to the fore as they somewhat awkwardly exchange the usual introductory pleasantries, and is subsequently mirrored by almost all whom Chris meets during the visit.
Jordan Peele's directorial debut combines a witty blend of classic genre tropes, with a hearty dose of perpetually potent social commentary, to devastating effect.
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