"Inventive and Entertaining But Excessive"
What You Need To Know:
Writer/Director Jordan Peele has delivered a suspenseful, entertaining, witty, and smart satirical thriller. The acting is very good, especially by Daniel Kaluuya, who plays the hero. That said, GET OUT not only has lots of foul language, it also contains some very strong bloody violence, especially toward the end. The violence isn’t rampant, however. Even so, GET OUT also has strong Romantic, politically correct elements from a liberal or leftist viewpoint. Ultimately, therefore, despite some moral elements and the movie’s comical tone, MOVIEGUIDE® finds GET OUT too obscene in places and politically unbalanced.
(PaPa, RoRo, PCPC, B, LLL, VVV, S, MM) Strong mixed pagan worldview with strong Romantic, politically correct, mitigated slightly by some moral elements and a light satirical tone that’s not as harsh as it could be; at least 70 obscenities (mostly “f” words), five GD profanities and one light profanity; brief very strong and strong violence with blood (mostly near the climax) includes a man smashes a hard object into another man’s head twice, man grabs and tries to choke another man to death, a victim grabs a doorknob and stabs his assailant in the knee, hero stomps attacker repeatedly to kill him, villain is killed by being gored with deer horns from a stuffed buck deer (includes a fair amount of blood), woman villain stabbed with a sharp object, another female villain is shot by a man and left to die, images of several corpses, a deer runs into a highway and suddenly slams into a car, and an old woman runs into a car’s path and is struck, before attacking the driver and dying, plus some offscreen violence; fornication implied when unmarried couple kiss in bed, and the scene then cuts to them lying in bed, plus hero’s friend jokingly discusses perverse sexual behavior as he warns his friend and later police that he’s in danger of being kept as a sex slave; upper male nudity when an unmarried man wakes up in bed with a woman; woman lures black man into a community of rich Southern white people for bizarre nefarious purposes by the main villain, the main villain lies to the black man when he tells him he thought Barack Obama was the greatest president of his lifetime.
GET OUT is an inventive satirical horror movie about a young African-American man, who goes to visit his white girlfriend’s parents, only to discover that they lead a secret group of rich white Southerners who have a creepy agenda waiting for him. GET OUT is a very well made, entertaining satirical thriller, but it has a mixed worldview with strong Romantic, politically correct elements, lots of strong foul language and some bloody violence, though mitigated by the movie’s satirical tone and some moral elements.
The movie follows the story of Chris (Daniel Kaluuya), an African-American photographer in his late 20s who has a budding serious relationship with a white woman named Rose (Alison Williams). Rose invites him to visit her parents in a rural area, and he asks her if they know he’s black. She says no, but not to worry about it.
However, when Chris meets Rose’s hypnotist mother, Missy (Catherine Keener), and surgeon father, Dean (Bradley Whitford), their initial kind interaction seems to mask a latent creepiness that Chris slowly realizes is extreme racism. Dean explains his father had been hoping to be an Olympic runner, but lost his place on the 1936 Olympics team to Jesse Owens, the legendary African-American runner who shocked Adolf Hitler by winning four Gold medals at the 1936 Olympics in Berlin. Dean says his father never got over losing his spot.
As Chris settles in for dinner, the creepiness builds. Then, when he goes out for a walk, he finds that the black maid and black handyman are exhibiting extremely strange, robotic behavior. When Chris re-enters the house, Missy is waiting for him, discussing Chris’ smoking habit with disdain and offering to cure him of it through hypnosis. He refuses but before he knows it, she’s hypnotized him. When he wakens, he notices that certain strange words and actions trigger him into odd behavior, although he mostly keeps his wits and skepticism intact.
From there, things get stranger, as numerous rich white people arrive at the house in limos and act a little too friendly to Chris, while making slightly racist comments. His best friend Rod, a TSA agent, suspects Chris is in danger. Finally, other signs quickly make Chris realize he has to run for his life.
GET OUT is written and directed by the acclaimed black comic Jordan Peele, who was one half of the comedy duo Key and Peele that had a successful Comedy Central series named after them. This movie marks a truly impressive filmmaking debut. Peele makes a movie that fits strongly into a modern-day Hitchockian thriller mold. As such, he delivers a suspenseful, entertaining, witty, and smart satirical thriller.
The movie also has a terrific use of sound and music throughout, and the performances are outstanding. Daniel Kaluuya, in particular, as Chris the protagonist, delivers a star-making performance, while the rich supporting cast delivers a slyly subtle sense of menace throughout the movie’s running time.
That said, GET OUT not only has lots of foul language, it also contains some very strong bloody violence, especially toward the end. The violence isn’t rampant, however. Even so, GET OUT also has some Romantic, politically correct elements from a liberal or leftist viewpoint. For example, all the white rich people encountered by the black characters are evil racists. Thus, the movie seems to promote liberal/leftist lies since Pres. Obama took office in 2009 that America is still a virulently racist country and that all white people benefit from “white privilege.”
Ultimately, therefore, although GET OUT has some positive moral elements and a witty satirical tone that minimizes the harshness of its politically correct elements, MOVIEGUIDE® has concluded the movie is unacceptably excessive. It probably will add more fuel to the hate speech coming from the left side of the current political debate regarding the treatment of minorities in America.