Get Out (2017) (R)

At the core of "Get Out" lies a two-sided film: the horror narrative itself and the political commentary that amplifies it. This should come as no surprise to the viewer. The trailers made it very, unapologetically clear, that this was a movie about race. But this is not a movie in the veins of "The Color Purple" or "Lee Daniels' The Butler"—biopics or period pieces or films that are easily moving and could callously be called "sentimental". "Get Out", rather, provides a frightening mirror to see the present day status quo not only surrounding the violence upon African Americans by systems of power, but also the underlying objectification of the conversation surrounding race altogether.
"Get Out" is really simple in plot. A young black man named Chris (Daniel Kaluuya) and his white girlfriend Rose Armitage (Allison Williams) take a trip over the weekend to visit her parents. Before they leave he asks her if she let them know that she's dating a black man and she laughs it off. She explains that her parents are very liberal so don't worry, "Dad would have voted for Obama for a third term if he could have." And this sentence is supposed to set Chris' mind at ease as he climbs in the car and drives the few hours outside the city into the center of rich, white, socialite paradise.
Rose's mom and dad are smart people, a neuroscientist (Bradley Whitford) and a psychiatrist (Catherine Keener) who are very invested in their daughter's life but don't seem to bat an eye as the car pulls up and the interracial couple enter.
From here, the movie's climax can be seen obviously, as the conversations about race are both uncomfortable (particularly for myself, as a white man) and forewarning of the more surreal horrors to come later. 
Part of the movie's success thus far has to do with Jordan Peele's name only. This is a man who built the first half of his career as a comedian, and one of the more recognizable comedians because of his sketch show with his other half Keegan-Michael Key. There is always the expectation of something humorous right around the corner; but "Get Out" holds nothing back as it plunges down into the cerebral story of a man unable to communicate his experience to those around him. Here is the movie's biggest strength.
In a post-Obama America, "Get Out" seems like the perfect movie to critique the Right and the GOP. It's a movie about racial tensions and we're all familiar with the sitting president's lackluster approach towards addressing racism. Going in, I expected a butchery of conservative politics; but what was delivered was the opposite. Instead, "Get Out" very cleverly chastises the left's more objectifying and condescending ways of having the conversation about "the African American experience" without including the people they are talking about. Imagine a dinner party where rich white people talk about how badly poor black people have it off as they sip expensive wine and make toasts to prosperous years to come. This is the central drive of the movie and it is so cleverly integrated into the film, the sense of the duality (commentary and narrative) is lost in what I'll call the second act of the film.
But then we have to talk about the movie's problems and minor SPOILER alerts here. The biggest issue with the film is the narrative itself. As most horror movies do (and as I have complained many, many times), "Get Out" writes itself into a corner and the "reveal" of the movie is a conclusion almost too ridiculous to take seriously, which of course, makes me ask the question if we were supposed to take it seriously or not. I think "Get Out" is a horror movie first, a political commentary second, and possible a satire of the genre third and on its first front it doesn't function as well as it could. Peele obviously had an intention with the film and it sometimes feels like jamming a square peg into a circular hole.
The second issue is the narrative need for incredible violence as an emotional finale. I think the movie justifies its carnage; but it loses the political commentary as it does so.
The performances here are very good including a very convincing and evocative turn by Kaluuya and Betty Gabriel as Georgina the maid. The film manages to pull convincing reactions from its characters as Peele re-imagines the associations between slavery and the language used to shun it. The visuals are Kubrickian and Peele reminds us to never judge a movie based on the history of its director.
"Get Out" functions well as a horror movie but maybe it was all about the commentary and not enough about the substance of the plot. I'll be curious to see if Peele goes on to make other films and how he matures as a feature film director. I think after the critical success of this movie and how almost stunningly effortless a lot of its technical feats are, he will likely achieve quick status as a director to watch.

Score: ★★★

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