Get Out

Get Out is not just a great horror movie.

Much like some of the films of masters like Alfred Hitchcock, Roman Polanski, and Stanley Kubrick, it is a film that elevates the genre itself to something that is much bigger, better, more beautiful, more terrifying, and overall much more important. Since I watched Get Out people have been asking me what it’s like. To answer that question is a difficult undertaking, but that hasn’t stopped me from trying. Get Out is every bit a horror movie, that also happens to be incredibly funny, as in, legitimately funny, as anyone familiar with Key & Peele would not be surprised. On top of that, Get Out seems mostly about racial tensions in America. It does not attempt to take a stance and batter you over the head with it, though. It takes shots at everyone involved in a way that is ironic and thought provoking.

Get Out is the rare type of art that encompasses a multitude of messages and world views all wrapped up into an incredibly entertaining tale. Everything from the pacing of the story and the mythology that the film exists within to the incredible visual storytelling pushes the film out of the realm of Tucker and Dale vs. Evil to something more akin to Rosemary’s Baby. The shots of Daniel Kaluuya as Chris Washington in the “sunken place” are likely to become an iconic image. There isn’t much to dislike about this film from the stellar performances, most notably Kaluuya, to the music, but in the end, this film is about the unbelievable direction of Jordan Peele. His comic chops come out blazing but what seems to have been hiding all that time is his complete understanding of dramatic tension. If this is any sign of things to come, I will be first in line for Peele’s next offering.

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