The great coup of the first act is that it turns the welcoming smiles of upper-middle-class white liberals into something creepy—and I say that as one of them. From there, it builds to the horror movie sweet spot where the end has license to go insane without betraying the beginning. It is a thoughtful, political flick about being afraid of losing yourself—but Peele knows the secret is a mischievous sense of humor.
What would sixties figures like Frankenheimer, whose "Seconds" this is reminiscent of, in its glassy classicism, pre-programmed antagonists and lone hero, made of a future that draws it's racial faultlines so markedly? Yet "Get out", in it's anger, dead-eyed pathological characters (plus its exceptional lead performance) seems like a call back to an even rawer time than the boomers could have envisaged. 2.5*
The ending is disappointing and the expository scenes are both didactic and pedestrian, but the first half works ruthlessly well. Get Out would have worked better as a short, rather than a 100 minute long pseudo-remake of The Stepford Wives with a racial rather than feminist overtext. Brace yourself for the inevitable Netflix produced, TV spin-off à la Dear White People. The cow must be milked hard.
3,6. I really liked Jordan's approach to this subject (racial discrimination) because it feels fresh and unique. The movie mixes a lot of different genres and has moments of pure brilliance (like the opening scene) but final act is a bit of a letdown to all that crazy and creative build-up.
Digital. Synthesizes the constituent elements of a society by adapting the premises of a social criticism to a scientific parody - in fact, a little less dazzle with itself and we would be faced with a decisive inventory of the possibilities of the ruling classes' horror. Either way, capitalism allows it and neo-colonialism suggests it. Fun - the capitalists have taken over the asylum.
The insidiousness of prejudice, ethnic despise and contempt and a thought-provoking somewhere between soem of the best meta horror films of the 10s 'under the skin' and 'it follows' (and many a Lynch flicks) come to mind. i went back and forth with my rating. Still being haunted by this.
It works as a political statement so well, but come on - the Stepford thing is a little underwhelming. I enjoyed Peele's hand on setting the mood and creating a really intriguing atmosphere: it's an unconfortable black comedy. At the end, the scoring is way higher than lower and I hope to catch the director's next film soon. Although it's lousy mistery, this is a refreshing take on 2010's horror scene.
Cleverly cheeky in it's racial setup and refreshing in it's ability to self reference and jump in and out of genre Get Out announces itself boldly. It does slow boil for over half of it's duration which leads to a finish that's a little underwhelming. Allison Williams is the surprise here, dominating every scene in the first half and keeping things pulled tightly together. 2.5 stars