Get Out (2017) Review – A Sharp and Sophisticated Social Nightmare

Welcome to Knockout Horror. Today we are reviewing Get Out (2017).

Psychological horror with a difference

Get Out follows young man Chris, played by Daniel Kaluuya, as he heads to his girlfriend’s childhood home to meet the family. Concerned about whether they will focus on the fact that he is African American, Rose, played by Allison Williams, tells him not to worry and that her family aren’t racist. In fact, Rose claims her father would have voted for Obama a third time if he could have. It’s only when the pair arrive at the house that Chris starts to notice that, despite the warm welcome, things don’t quite feel right. An instinct that will shortly be proven correct.

“Get Out presents us with a character who is fully aware. Chris is a capable guy who knows he is at risk and that something is going on. He is nobody’s fool, and that is refreshing for the genre.”

Get Out is a psychological horror movie that approaches things from a slightly different perspective. Your standard horror movie protagonist is almost entirely oblivious to the danger they are in. They make stupid decisions, seem unaware of impending threats, and make all the wrong choices. Get Out changes this and presents us with a character who is fully aware. It is thoroughly compelling stuff throughout. Chris is a capable guy who knows he is at risk. He knows that something is going on. Chris is nobody’s fool and that is something we aren’t really used to in horror.

The fact that Chris is so clued into what is going on sets Peele the task of scaring the viewer in a different way. The horror here is pretty obvious, even the protagonist can see it. The fear factor comes from Chris’s inability to do anything about it. Peele takes a character that is more than capable and makes him helpless, against his will. It’s fascinating stuff and utterly refreshing. Much like the atypical backdrop of the movie – white middle America.

Holding up a mirror to middle America

Get Out kicks off as a somewhat satirical look at liberal middle America and their worrying lack of insight when it comes to racial issues. Believing that voting Obama and enjoying African American music, artists, or athletes, means they can’t be racist, Get Out holds a mirror up to this group of people and turns them into terrifying villains with motivations that subvert what we have come to expect from these types of horror movies.

It’s brilliant and quite unexpected. The natural inclination would be to set Get Out in a southern US red state with a bunch of overtly racist hicks. Get Out does not follow this blueprint at all. The movie feels as though it is set in a part of America that is, seemingly, much more progressive, somehow creating an even scarier backdrop. The interactions are awkward and the cast’s overly enthusiastic admiration for African Americans is used to make the viewer suspicious and keep them on edge.

“The movie feels as though it is set in a part of America that is seemingly progressive, somehow creating an even scarier backdrop. The cast’s overly enthusiastic admiration is used to keep the viewer on edge.”

This constant praising and pointing out of the difference between Chris and the other people at the party is very reminiscent of a whole generation of people who call themselves allies on social media. Prodding and poking Chris while complimenting him, the guests almost demand that he worship them for their acceptance of him. It’s a deft reflection of the white saviour notion that so many people, nowadays, seem to be struck with.

An incredible debut for Jordan Peele

The fact that this is Peele’s horror debut is, frankly, stunning. He directs with a style and confidence that usually only comes from years behind the camera. He clearly has a love for the horror genre and a keen knowledge of its history. Many of the shots in Get Out are truly iconic. The pacing, as well, is perfect and you never once feel anything other than completely connected to the main character. This is a huge ask for even an experienced director but Peele nails it as though he has been doing it for years.

I will point out that I say this with no bias. This is, actually, the only Jordan Peele project that I enjoyed. Peele’s follow up effort, Us, while an objectively great movie, didn’t do anything for me at all. The remake of Candyman, for which Peele had writing and production credits, is one of the absolute worst big name horror movies I have seen in a very long time. Sadly, I was insanely amped for both of these movies only to be hugely disappointed. Maybe his style is just not for me but, either way, Get Out is, without question, a great movie.

Mostly great acting

Acting, for the most part, is brilliant. Daniel Kaluuya as Chris is fantastically good. A nuanced and thoroughly believable performance leaves you nothing other than impressed. Kaluuya does an expert job of relating the awkwardness of Chris’s situation as well as his increasing feelings of unease and fear. There are a number of scenes that stand out as being particularly excellent and noteworthy. His ability to turn on emotion and express the way his character is feeling is very impressive.

“You should definitely watch Get Out. It is one of the most refreshing horror movies in years. Jordan Peele’s debut is witty, clever and constantly compelling.”

Allison Williams, as Rose, is pretty much typical romcom girlfriend fodder for the most part. She gets a lot better toward the end, however. Bradley Whitford is excellent as Rose’s dad Dean and Catherine Keener does a decent job as Rose’s mum Missy. Side characters are generally brilliant. I loved Betty Gabriel’s performance as Georgina and Lakeith Stanfield as Logan was great. I absolutely hated Caleb Landry Jones as Rose’s brother Jeremy. He had me cringing pretty hard with his low rent impersonation of Johnny Depp.

Cinematography is excellent. Some of the scenes are genuinely iconic and will remain in the minds of horror fans for years. The creativity on display is very easy to appreciate. There are also some interesting uses of depth to setup effective scares. One scene stands out, in particular, for this use of depth but I won’t spoil it.

Sound production is also noteworthy. There are also some scenes that will really reward you for having a decent sound system. We watched this movie once at the cinema and once at home via a projector with a surround sound system. I have to say, I think I preferred the home cinema setup. The sound is very immersive and the 2:39.1 aspect ratio fills your visual field perfectly, dragging you into the world kicking and screaming.

Our Scoring Philosophy: A Fair Fight

Horror is a genre that thrives thanks to indie film makers and low budget creators. At Knockout Horror, we firmly believe that every movie that we review deserves a fair fight. That's why we grade on a curve. Our star ratings are all about context, judging a film on what it achieves with the resources it has.

A 4-star rating for a scrappy indie horror made for $10,000 is a testament to its ingenuity and raw power. A 4-star rating for a $100 million blockbuster means it delivered on its epic promises. We don't compare them side-by-side; we celebrate success in every weight class, from the back-alley brawler to the heavyweight champion. Please keep this in mind when considering star ratings.

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