It’s time for a young African-American to meet with his white girlfriend’s parents for a weekend in their secluded estate in the woods, but before long, the friendly and polite ambience will give way to a nightmare.
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The issue this film is attempting to confront (the hidden and submerged racism of neoliberal middle/upper class whites and the silencing of black voices) is relevant. The movie starts out promising (awkward dialogue and increasingly uncomfortable situations for the main character meeting the girlfriend's bizarre family) but, unfortunately, ends up over the top and ridiculous.
Never quite betters its amazing prologue. Finding a balance between contemporary horror movie cliché & social satire, it creates a scene that is not only unnerving, but thought-provoking too. The main narrative flaunts its absurd sci-fi subtext as if trying to critique the genre itself, but while clever, funny & engaging throughout, the characters are two-dimensional & the ending lacks the courage of its convictions.
2 1/2 stars. People bizarrely praise this film to no end and hold it in such high regard... and I don't get it. I can't shake the feeling that the film is trying to be more than when it actually is. Has it's moments here and there, but ultimately- it didn't have enough balls to go all the way. LilRel Howery is the only dope thing about this movie. Overall a one note, watch it once & then forget about it type of film.
The critique of white, neo-liberalism is generally spot on. Peele certainly has a distinct visual style - and I was particularly fond of the bedroom scene when Chris talks to Georgina, as well as the dutch camera angle deployed after Rose is shot. Perhaps the film is less absurd than some would like to believe. (look up the Tuskegee syphilis study)
How do you make the distinction between racism, and just flat out ignorance? If you never came across a person from another race, there would naturally be questions that would make you look stupid. If you've never met a person from another race, why would you inherently believe them to inferior? Maybe if someone told you they were, or you were prone to stereotyping. But that's theoretical. These people were racist.
Get Out certainly has a sharp and thoughtful critique on racial divides, but it also is a victim of the modern mainstream mentality: the process of spoon feeding every single damn stance it takes. You could argue that some in our country need this forced down their throat to begin with, but for the non-bigoted, you can't really proselytize to the converted. And it's pretty one-track minded in this intention, too.
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*