Mr Peele, I was used to your everything-but-subtle fight against racial stereotypes with Keegan Michael-Key in Key and Peele, and blindly expected Get Out to be a thriller with racism against the Black community as a guideline.
While I wasn't wrong, I was glad to discover it went way further than that.
First of all, props to Daniel Kaluuya's acting here. His performance in the dystopian world of Black Mirror 1x02 "15 Million Merits" was astonishing already and I was thrilled to discover how it would compare here. It was definitely on par with it, if not better.
Allison Williams as the crazy white girl was also a wonderful fit.
But let's get back to the story. As Peele said it during interviews "I wanted to make a movie you have to watch twice": first through the eyes of Chris then through the eyes of Rose, as if you were an actual accomplice of the whole abduction/hypnosis/OP thing. While a first watch leaves you totally clueless about what is happening, what just happened, and what will happen, a second viewing is a necessity, as there is foreshadowing all over the place. Charlie Brooker, it seems like you have found yourself an opponent in the "let's leave clues everywhere, yet make sure you never understand them on first viewing until the final twist happens".
That first viewing is effectively just deconstructing the usual " black people in movies"(and by extension, in society) trope. Leaving us to experience the whole thing as Chris. Making the white family/friends here during the "big party" seem just like full of stereotypical racist thoughts (which they are indeed), and the black servants "off", even though we can't get why really.
The acting is genuinely impressing, as the hypnotized black "molds" play the role of older white people in the body of a younger black people to the perfection. Second viewing reveals you that they were not acting off, but that it was all a result of the Coagula procedure.
I can't help but be impressed by the complexity of it. The layers of foreshadowing is crazy, and I can confidently say that two viewings were not enough, and a few mores will be needed to get all the hints that are sprinkled. Any viewing after the first will make the movie look as a whole series of hints, while also making you aware of more imagery, either visual (The milk and cereals that Rose eats separately, the fact that they make Andre spin around as if at a slave auction..), or in the form of trope.
This is a 10 stars rating here, and I can't wait for what's coming next. I've heard a modern take on The Twilight Zone was in the books for 2019 ? Peele would definitely be the director for such a thing.
I thought this was creepy as hell. From the beginning it made me feel very uncomfortable, but they also did this thing where they would put a bit of humor where it didn't belong to ease the tension. So it was seriously creepy, but at the same time it was funny in a way that forced you to not take it seriously at times. I don't know how to feel about that, but it was an interesting movie.
The whole racism approach and stereotyping of white people and black people was not at all deep; it was blunt and without any sort of development or nuance just to set the tone as quick as possible for what would happen down the line and also to have a bit of humor. Which was okay.
As for the big revelation at the end.. It was lame, so lame. I think it could've been better, more intense and creepier, especially when you're dealing with concepts such as spoiler alert hypnotism, consciousness and the manipulation of the mind. I feel like they had a great story and they chose to interpret it in such a way that wasted a huge amount of potential. I really hope someone else makes a better adaptation of this story in the future, because this was just "good", but it can be "totally ninja!".
Also, spoiler alert, I knew from the start that there was no way Allison Williams could be playing the role a sane girlfriend.
8/10
I decided to watch this again after 2 years it came out because my mind completely erased everything about this movie.
I can't give it a 10 or even a 9 because for a psychological horror genre, the storyline is original but a bit weak, you can start to see where the movie is going in the first 30 minutes, and then it's just waiting for it to happen.
This movie is based on a racism and it wants to send the message that there's more happening in the real world and I like that, there's a good connection between that and the plot.
I love the story, it's very intriguing and it submerges you fully in the very first 10 minutes, its pace is very good, you can feel the tension for the main character forming and each scene has its importance, there are absolutely no fillers but as I said in the beginning it's a movie where you already know how the ending is going to look like from the start which is not a good thing especially for this genre.
The music also stands out a lot, it's absolutely perfect.
There's a major plot twist but again, you basically already know it's going to happen even before the scene with the photos in the cabinet which I would consider the turning point of the movie.
All in all, great movie, an absolute must watch for horror fans, I recommend you watch this even if you're not.
The movie is quite good.
But Peele is an idot that has no idea about politics and should shut up.
And Chris is an idiot too and should have run the moment he heard “By the way, I would have voted for Obama for a third term if I could.”
Off top of my head
-deported more people than any other president, including Trump
gave CIA to John Brennan who spied on Senate Intelligence Committee and lied under oath about it, then refused to hold him accountable
dropped 3 bombs an hour on predominantly brown people and Arabs
killed thousands in drone strikes, 90: of them were civilians
his FBI and Justice Department spied on journalists and again, lied about it
-involved American military in 5 more military conflicts, conveniently never called "war"
-donated as much money as Bush did to the banks, as a gift for throwing out millions of Americans on the street
So no, Peele, Obama was not the greatest president ever. Educate yourself first, and talk later.
I really like Get Out and Us.
But your movies keep getting worse and worse, just look at Nope and Candyman.
I do not usually watch horror movies (I have an overactive imagination and images tend to haunt me), but I saw an interview of Jordan Peele, the author and director of this film, and the interviewer, Chris Hardwick, said that this was such a unique movie it was establishing a whole new genre - a Social Thriller, to which, Jordan Peele said, he would include The Stepford Wives and Rosemary's Baby. A Social Thriller not only tells a self contained story but takes on the Social norms of our culture, which in the case of this film is subtle and not-so-subtle racism. Intrigued, and willing to better understand my white presuppositions and prejudices better in an effort to overcome them, I decided to watch the movie (first thing in the day - I'm not going to bed with a horror movie rattling around my imagination). It was clever, it was keenly observed, it had a life-observed wit, it had an depth of content and it was good. (And, it didn't excite any horrific images that would linger >phew<). I think this was good film making with intended openings for social discourse, and I give it an 8 (great) out of 10. [Social Thriller]
I was fairly certain that I had started watching this some time ago but for some reason, I stopped just a few minutes into it and never went back. I kept seeing the film mentioned on numerous lists (and I have to admit, the cover art for the movie had always intrigued me about the film) so I finally broke down and watched it in its entirety this evening. I was not disappointed. While I wouldn't call it a "horror" movie (it's actually much more of a psychological mind-bend) it definitely has a completely creepy, ghastly "I know something bad is happening but I just don't quite know what...yet" feel almost from start to finish. The only - seriously, the ONLY - negative that I personally have is that I watched this on Paramount+ and made the "mistake" of watching the alternate ending. While that didn't "ruin the whole movie" (far from it!) for me, it was a huge turnoff because there's no need to invoke some false sense of superiority by calling yourself "woke" or whatever. Newsflash: Even after Obama, racism still exists, and it still goes in ALL directions. So don't get all preachy on me, Jordan Peele, and feel like you somehow would have been doing us all a favor by going with a different ending that - regardless of whether you think a "woke" generation would enjoy it or not - was nowhere nearly as good as the conclusion we got. Apart from that little bit of preachy idiocy by the writer (after the end credits), this was an absolutely excellent story, a great film, incredible acting, and cinematography and soundtrack to accompany it all. I don't know that I'll watch this one again - kind of difficult to when you know how it ends - but definitely recommend watching it at least the first time. Absolutely brilliant creepy movie that seems to fire on all cylinders...a rarity in the horror genre these days.
Chris Washington (Kaluuya) and Rose Armitage (Williams) are a happy couple, but when they reach the meet-the-parents milestone, Chris has reservations. He's black and is worried about how Rose's parents will accept him. The couple visits Rose's parent's luxurious mansion for a gathering of their white liberal friends, with black servants on the sidelines. Director Jordan Peele delivers a powerful commentary on modern racism, wrapped in a tight horror thriller. From the moment Chris arrives at the mansion, Rose's parents are overly eager to show how accepting they are, while the other guests take a keen interest in Chris. At night, the servants quietly move about the house and garden as Rose's mother, Missy (Keener), practices hypnosis. The story unfolds slowly, with every piece of the puzzle carefully laid out. An air of tension hangs over the movie as Chris and the audience spiral into madness. Kaluuya gives an assured performance as Chris, paranoid and trying to cling to reality. Williams is equally good as Rose, and Lil Rey Howery provides humor in his supporting role. The movie's antagonists are everyday white middle-class citizens, adding an unsettling layer to the story. The movie races to a crushing climax, and Peele delivers another commentary piece swathed in full horror movie conventions. Get Out and see this movie.
Chris Washington (Kaluuya) y Rose Armitage (Williams) son una pareja feliz, pero cuando alcanzan el hito de conocer a los padres, Chris tiene reservas. Es negro y le preocupa cómo lo aceptarán los padres de Rose. La pareja visita la lujosa mansión de los padres de Rose para una reunión de sus amigos liberales blancos, con sirvientes negros al margen. El director Jordan Peele ofrece un poderoso comentario sobre el racismo moderno, envuelto en un apretado thriller de terror. Desde el momento en que Chris llega a la mansión, los padres de Rose están demasiado ansiosos por mostrar cuán tolerantes son, mientras que los otros invitados se interesan mucho por Chris. Por la noche, los sirvientes se mueven en silencio por la casa y el jardín mientras la madre de Rose, Missy (Keener), practica la hipnosis. La historia se desarrolla lentamente, con cada pieza del rompecabezas cuidadosamente dispuesta. Un aire de tensión se cierne sobre la película mientras Chris y el público se vuelven locos. Kaluuya ofrece una actuación segura como Chris, paranoico y tratando de aferrarse a la realidad. Williams es tan bueno como Rose, y Lil Rey Howery aporta humor en su papel secundario. Los antagonistas de la película son ciudadanos blancos comunes de clase media, lo que agrega una capa inquietante a la historia. La película llega a un clímax aplastante, y Peele ofrece otro comentario envuelto en convenciones de películas de terror. Sal y mira esta película.
Jordan Peele's screenwriting/directorial debut is quite the leap, exchanging the comedic chops one might expect for a potent blend of social commentary, suspense and horror. Peele shows us a creepy upper-class suburban atmosphere, host to a mixed-race couple's "meet the parents" moment, with a thick, permeating air of uncertainty and alarm. Everyone seems overly accepting of Chris, hometown girl Rose's new black boyfriend, but there's a look to their gaze that might imply something else. The town's dark-skinned residents, however, are less reserved. They behave like marionettes, Stepford Wives with an unnervingly wide smile: stiff, oddly-dressed and thoroughly disconcerting in posture and prose.
At first glance, I worried that the metaphors Peele was searching for would be too on-the-nose and blunt, but his well paced, muti-layered story soon brushes those concerns away. The analogies remain, but they're nuanced and subtle, effective players in a larger tapestry. The greater story is twisting and unpredictable, a mystery that efficiently mixes legitimate worries with tension-breaking laughs and personal connections to throw us off the scent. We don't know who's in on the scheme (or what that scheme might be) until the very end, and for too long Chris is afraid to point fingers, lest he offend. Balancing social niceties with the increasing terror makes a great vehicle for this genre, and the prim-and-proper atmosphere only makes the occasional weird offhand remark or personal tick stick out that much more.
An excellent small-scale nail-biter, it's richly crafted and sharp, with a sensitive finger right on the cultural pulse. Well worth the hype.
Ce film est tout simplement grandiose. Présentant une autre facette de la relation entre les hommes et les femmes de différentes couleurs, ce film met en scène la fascination qu'exerce cette différence. Les enjeux de ce film ne sont pas seulement la vie d'un homme mais aussi la Vie. En effet, les Hommes sont sans cesse à la recherche d'une façon pour prolonger leur vie même si cela doit nuire à d'autres personnes. Pourtant, ils ne choisissent pas des Hommes qu'ils considèrent comme des êtres inférieurs pour vivre à l'intérieur de leur corps. Cependant, le film montre que l'instinct de survie peut changer une personne sensible en un tueur de sang froid.
Outre la dimension psychologique de ce film, les performances de Daniel Kaluuya aka Chris Washington et d'Allison Williams aka Rose Armitage subliment le film. La terreur visible dans les yeux du rôle masculin principal ainsi que la double personnalité du rôle féminin mettent en évidence les caractères de leur personnage.
La bande son signée Michael Abels nous plonge directement dans l'univers de Get Out. Reprenant le modèle d'Hitchcock, le film de Jordan Peele démontre la nécessité de la musique dans un film. L'atmosphère angoissante et prenante créée par les forts contrastes entre l'obscurité et la luminosité est exacerbée par la musique qui nous prépare à un retournement de situation alors qu'il n'y a rien.
Get Out est un thriller psychologique qui garde en haleine le spectateur et par sa fin surprenante qui nous laisse sans voix, il ouvre la porte à de nombreuses autres questions.
Review by Andrew BloomVIP 9BlockedParent2017-10-08T15:57:46Z
[9.8/10] In recent years, when it comes to horror films, I’ve come to appreciate mood over scares. Scares have become cheap, with scads horror flicks offering monsters popping out of nowhere or surprise deaths or gruesome images to the point that it’s all too easy to become inured to them. Instead, I’ve come to really like films that do well at establishing an atmosphere, something that may not make you jolt out of your seat in a given moment, but that makes the hairs on the back of your neck stand up on end for the entire runtime.
Get Out has that in spades. Long before anything goes bump in the night, there is a tension in the air, the sense that something just isn’t right or comfortable, even if you can’t quite put your finger on it.
Writer/director Jordan Peele does that perfectly through blending multiple kinds of anxieties into one unsettling collage of moments. There’s the horrorful text of the piece, with hints that maid and groundskeeper on the Armitage estate are not all there, and ominous portents like dead deer or rustling trees. There’s the anxiety of meeting your significant other’s parents for the first time, the relatable sense of being off balance as you’re both trying to be on your best behavior while also feeling out a group of people who are likewise feeling you out.
And then there’s the fact that Chris (Daniel Kaluuya), is made to feel like a curiosity, like something out of place, as he steps into a lily white world where seemingly well-meaning folks patronize or unwittingly insult him. One of the great achievements of Get Out is how it steps into the proud tradition of using social anxieties and real world fears and discomfort to undergird the textual horror the film slowly unspools. Peele manages to wrap so many facets of that sort of experience in this work -- belittling compliments, a sense of being out of place, and questionable, othering comments -- in a way that fits perfectly, and gives force to, the straight horror movie he’s presenting.
This seems as good a place as any to acknowledge that, as a straight white male who grew up in the suburbs, there is a limit to how much I can speak to the way those experiences are depicted. Get Out touches on any number of ideas -- how even committed progressives can have old prejudices behind their facades, the appropriation of black bodies and black labor for white needs chief among them -- that I’m simply not qualified to do anything but note with appreciation. Those elements, and the social commentary that comes with them, are one of the most striking and effective parts of the movie, I’m woefully ill-equipped to analyze them in the depth that someone who’s lived those experiences could.
But one of the stellar things about Get Out, and well-made movies in particular, is how they can convey those experiences even to those who will never live them. Peele uses all the tools in the cinematic toolbox to make you feel Chris’s discomfort, the way in which he’s ill-at-ease in this place that seems unfamiliar and off-putting. He combines that cross-cultural discomfort, the awkwardness of meeting your significant other’s family, and the hints at something more supernaturally sinister to create a film that affects the viewer on multiple levels.
That’s just one of approximately fifty things Get Out does incredibly well. It’s a nigh perfect film at nearly every level. The acting is superb across the board, from Kaluuya who carries the film, to the familiar sense of the different Armitages, to a superb turn from noted character actor Stephen Root, to a gobsmacking scene from Betty Gabriel as Georgina, done almost entirely in close up with nowhere for her to hide. The pacing is outstanding, with the hints, uptick, build, and climax of the mysterious events each coming at just the right time.
Technically, the film is just as remarkable. The use of color in the film is incredible, with golden hues in the background that symbolize visually how out of place Chris is, lush naturalism, and spooky blues and grays in the dark. The cinematography and editing are just as superb, with Peele, director of photography Toby Oliver, and editor Gregory Plotkin able to make an impromptu hypnosis session in a well-appointed den feel like the most intense thing in the world, and manage to make chases and close calls feel just as dramatic. In the same way, Michael Abels’s score perfectly accents the unsettling quality of each scene and moment.
The most miraculous thing about Get Out is that as terrifying, tense, and thematically rich as it is, it’s also a damn funny film. Chris’s friend Rod (LilRey Hower) initially seems like minor comic relief in the film, but his role goes much deeper than that. Still, between his amusing dialogue and the wry tone to Chris’s less creepy interactions with the Armitage’s well-heeled friends, there’s plenty of laughs, naturally, in Peele’s script, even as he’s just as able to bowl you over with the complex commentary and horrifying developments at play.
It’s also as sound a screenplay as you’re likely to see realized on screen anytime soon. More than a few horror films mix their haunting with a layer of social commentary, but few of them balance the text and the subtext as well as Get Out does, with the film working just as well at both levels. At the same time, its reveal is impressive, a swerve from the predictable read on the Stepford quality of the situation that deepens both the horror and the metaphor. And it’s a tightly-written script to boot, with details like the stir of a spoon, the taking of a picture, or a childhood memory each established and revisited at the perfect time. It all comes together to tell a story imbued with that deeply unsettling atmosphere with seeds planted that bloom in horrifying splendor.
But as great as that atmosphere is, as much as it primes the audience for what’s to come and sets a tone that makes the film unnerving even when nothing particularly dramatic is happening, Get Out has just as much virtuosity in delivering its scares. When the scales fall and the reality of the threats and machinations at play unfurl, Peele and company are equally adept at delivering that tension, intensity, and fear that will keep you on the edge of your seat.
There’s been no shortage of outstanding horror films in the last few years. Everything from the moody inventiveness of It Follows to the period paranoia of The Witch, to the psychodrama of The Invitation. But with Get Out, Peele has set the new standard by which each of these modern artistic successes must be judged. It’s a film that works on every level, bringing wit, atmosphere, story, metaphor, horror, sight and sound with equal success. It’s a film that wants to scare you and wants to challenge you, while never letting the one get in the way of the other.