Get Out (2017) was Jordan Peele’s directorial debut. Known primarily for comedy, whether creating it (‘Key and Peele’) or acting in it (‘Big Mouth’, ‘Bob’s Burgers’), audiences may have expected Peele’s foray into cinema to be equally funny. But Get Out – and subsequent films Us (2019) and Nope (2022) – was a slick horror with a healthy dose of social commentary.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a couple readying themselves for a big step, meeting the parents. The Armitages are a wealthy white family who live out in rural New York. Rose assures Chris that they won’t see his race, let alone be bothered by it. Chris is immediately unsettled by the atmosphere in the home.
Whilst not filled with jump scares and bloody gore, Get Out (2017) is a certifiable horror. As the tension rises, we are asked to face some blunt racism, Peele raising questions about what is satirical and what is sadly not. It’s scary enough without blood packs and a screeching score.
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10. Consider This Shit Motherfucking Handled
Daniel Kaluuya’s acting is incredible and visceral as he sinks into the comfort of his friend’s car, safe after his ordeal.
Rod (Lil Rel Howery) is the injection of humour that Get Out needs and benefits from so we are expected to laugh as he proudly announces, “consider this shit motherfucking handled.”
But there’s a bitter aftertaste, because that’s the real horror story, isn’t it? The rousing theme song builds, and we are left with the eerie feeling that this shit might never be handled.
9. You Know I Can’t Give You the Keys Right, Babe?
The climax is near, the heart is pumping. Chris (Daniel Kaluuya) and Rose (Allison Williams) need to leave the house. Immediately. We have suspected for a while that Rose might have more to do with the happenings in the house than she is letting on. Chris suspects it too, but can’t let her know that while she holds the car keys.
Allison Williams’ teary eyes hardening to flint as she says “you know I can’t give you the keys right, babe” is the final nail in the coffin of her being a goodie. Williams’ emotionless face becomes one of the most terrifying aspects of the film.
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