Get Out
Chris Washington (Daniel Kaluuya) is preparing for a trip to meet the parents of his girlfriend Rose Armitage (Alison Williams). Evidently fretful, he asks Rose whether her parents know that he's black. His apprehension proves to be well founded as a number of peculiar happenings start to occur upon arrival at the Armitage residence.
I have very little interest in horror films (the thought of It Follows still makes me shudder and not in a good way) but found much to enjoy here. The film's use of horror tropes is well judged without an over reliance on elements like jump scares, for example, whilst also developing a sinister sense of unease. The film's comic relief comes in the form of Chris' friend Rod (Caleb Landry Jones), desperately attempting to keep tabs on the situation from afar, frequently gleaning laughs from wild speculation.
Those who consider the USA to be a post-racial society certainly won't find one in Get Out. The film turns its sights on liberal white America and posits that they hinder the black population and the concept of equality despite considering themselves to be progressive. This takes a number of forms from the Armitages and their guests, from their son's truly unsettling admiration of Chris' physique to a golf enthusiast's attempt to engage with him by championing Tiger Woods. Ultimately, the notions of liberals co-opting black culture and black lives are taken to a particularly stark extreme.
The end of the film is wrapped a little too neatly, albeit with a nice subversion of expectations, but Get Out is a thought provoking piece and a strong directorial debut for Jordan Peele.
I have very little interest in horror films (the thought of It Follows still makes me shudder and not in a good way) but found much to enjoy here. The film's use of horror tropes is well judged without an over reliance on elements like jump scares, for example, whilst also developing a sinister sense of unease. The film's comic relief comes in the form of Chris' friend Rod (Caleb Landry Jones), desperately attempting to keep tabs on the situation from afar, frequently gleaning laughs from wild speculation.
Those who consider the USA to be a post-racial society certainly won't find one in Get Out. The film turns its sights on liberal white America and posits that they hinder the black population and the concept of equality despite considering themselves to be progressive. This takes a number of forms from the Armitages and their guests, from their son's truly unsettling admiration of Chris' physique to a golf enthusiast's attempt to engage with him by championing Tiger Woods. Ultimately, the notions of liberals co-opting black culture and black lives are taken to a particularly stark extreme.
The end of the film is wrapped a little too neatly, albeit with a nice subversion of expectations, but Get Out is a thought provoking piece and a strong directorial debut for Jordan Peele.
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