When young, African-American Chris (Daniel Kaluuya) agrees to visit the parents of white girlfriend Rose (Allison Williams) he has no idea of the horror awaiting him. A perfect, apparently liberal, community hides a very dark and disturbing reality and Chris has just walked into a nightmare.
Dad (Bradley Whitford), a neurosurgeon and the epitome of middle class liberalism (who would’ve voted for Obama a third time if he could’ve) and his hypnotherapist wife (Catherine Keener) are nothing if not welcoming to Chris. Less so is uber-creepy UFC-loving brother, Jeremy (Caleb Landry Jones), but it’s only when he meets the family’s blank and humourless black servants that Chris starts to believe something is seriously wrong.
With his first movie writer/director Jordan Peele (one half of comedy duo Key & Peele) has created something incredibly special: a horror movie that delivers not only edge-of-the-seat thrills and suspense and moments of laugh-out-loud comedy but a savage satire of white suburbia so sharp it cuts. Get Out specialises in pulling the rug out from under the viewer, constantly subverting our expectations, twisting its narrative knife in our stomachs and keeping us guessing right up to its final, terrifying denouement.
With a whip-smart script that doesn’t carry an ounce of fat, Get Out is intelligent, nuanced, thematically dense and makes the implausible seem terrifyingly plausible. Peele knows exactly when levity is required to give the audience much needed relief from the ever-building tension and exactly when to dish out the shocks and reveals. It is a very impressive debut feature indeed, finally a new voice in horror worth listening to.
Speaking of listening: As awful as the sound design was in last year’s most successful horror, Don’t Breathe (the noisiest movie ever made about keeping quiet), Get Out’s sound design is remarkable. It replays over and over in your mind long after the movie has finished like an echo of terror (if you struggle with the sound of cutlery on crockery or the high-pitched whine of bone saws you might want to avoid this movie). The sound design creates an extra dimension of fear, probably the best use of sound in a horror movie since The Exorcist, no kidding.
Less a movie that relies on gore or jump-scares (though there is a smidgeon of both), Get Out travels the less-worn (but equally scary) path of psychological horrors such as Rosemary’s Baby or The Stepford Wives (the influence of both it wears proudly on its sleeve). That it throws into the mix themes as diverse as the loss of identity of black America, patronising liberalism and the shadow that slavery still casts upon modern America (amongst others) just makes it all the more remarkable.
And it’s really, really, fun.