GET OUT (Dir- Jordan Peele, USA, 2017)
Starring- Daniel Kaluuya, Alison Williams, Catherine Keener, Bradley Whitford, Marcus Henderson, Betty Gabriel
In Cinemas now
Arriving on a lot of critical acclaim and a hit opening weekend at the US box office Jordan Peele’s GET OUT is one of those horror films that combines both sharp satire and creepy unease to maximum effect. Rather than hit below the belt at an obvious choice of redneck racist southern hillbilly’s he goes for the throat of liberal attitudes towards race and benefits from a sharp underpinning of characters that come off as more patronising and cringe worthy but underneath it all is a sense of danger and nastiness which slowly reveals its true face strengthening the films genre credentials.
Photographer Chris (Kaluuya) is preparing with his girlfriend Rose (Williams) to spend a weekend at her parents. Chris is obviously concerned about the trip since as he says he’s black and his girlfriend is white, though Rose assures him that her parents are very liberal and that her dad would “have voted for Obama for a third term if he could.” Naturally this is one of the first things Dean Armitage (Whitford) points out when he meets Chris along with his wife Missy (Keener) who in the first meeting with their daughter’s new boyfriend seems friendly at first though with moments of cringe worthiness, especially when Dean is making the aforementioned Obama comment and showing Chris the many souvenirs he has picked up on his travels. Dean also apologies to Chris for the presence of black groundskeeper Walter (Henderson) and servant Georgina (Gabriel) as if it seems too much of a cliched throwback to the past even though Dean states that the two where helpers to his parents and didn’t want to see them go.
The same weekend there is a party at the Armitages household where local guests come around and seemingly Chris finds the presence and the patronising comments of liking Tiger Woods and that black is the new black etc too much to take. Though the odd behaviour of the only black guest at the party and the increasingly strange reactions Chris finds from speaking to the Walter and Georgina starts to freak him out to the point. With contact to his best friend Rod (a brilliant laugh out performance from Howery) he starts to pick up on clues that something is not right with whats going on and that maybe he might be better away from “too many white people.”
From the start GET OUT pitches its subversion on its sleeve in a clever skewering of convention. The opening scene features a black man walking through a tree and hedge lined suburb, uncomfortable and out of place with the setting and a car pulling up beside him blaring out “Run Rabbit Run” on the stereo. Peele sets a fantastic switch around of the white suburban middle class fear of ending up in the wrong side of town and feeling misplaced. At the same time this recalls the suburban terror and unease of HALLOWEEN and more recently IT FOLLOWS where the white picket fence hides something more darker and hidden. It’s this opening scene that sets off Peele with both his fulfilment of genre recognition and satire as lets face it even if there is bite in the films humour and portrayal of liberal racism, this is also a horror film and our director doesn’t want you to forget that.
It’s the opening scenes that are brilliantly written, witty and well performed by the cast that keeps us engaged with some of the awkwardness of Chris’s situation, particularly an excellent turn from Whitford as the head of the household who seems eager to please but as Rose states, doesn’t seem to have an off button. Yet throughout these opening scenes there’s a clever build up of unease throughout whether its the odd behaviour of the two servants or Missy’s insistence on placing Chris under hypnosis seemingly to cure him of his habit of smoking, which is a superb, unnerving and stylishly nightmarish sequence.
Even in the presence of the party with the guests and their consistently patronising questioning of the only black man surrounded by white folk, which is both awkward and cringe worthy then devolves into a more darker prospect in one particular moment which when revealed adds a chilling twist to set up the films final section. In the final section of the film there’s a twist that seems pretty predictable but then we are confronted with an even more bizarre and darker turn of events that bends the film into the realms of schlock yet still retains the films twisted subversion.
Much can be made of the films placing at a time when racial tension is still a relevant subject in the States and there’s no denying that Peele’s film picks up on this simmering tension and fears felt by black Americans. Even in the films climax with the arrival of a police car, this sight feels more like a possible threat rather than the usual sign of assurance. GET OUT is superbly written and a brilliant example of horror as social satire delivered with veritable wit and unease that both has a deep genre quality and sharp swipe at liberal attitudes towards race that cuts deep as well as being very funny. It will certainly make you think twice about being put under hypnosis!