Get Out (2017)


Written and Directed by: Jordan Peele

I live about forty miles from Charlottesville, one of the most socially and politically liberal cities in Virginia. Last week, in the unfolding Theater of the Absurd that is the daily news, neo-Nazis were grabbing their five minutes of fame. Dressed in white and carrying torches — like a terrifying parody of themselves — they gathered at a public park, protesting the removal of a statue ofย  Virginia’s most beloved Confederate general, Robert E. Lee. Rumor has it they were joined by Richard Spencer, a vile lunatic whose blog has called for the genocide of Black people

On the positive side, these protestors were outnumbered by anti-white-supremacy demonstrators. But that doesn’t make the scenario any less horrifying.

In an era when bigotry has shed any pretense of subtlety and appears to be growing more virulent, it’s easy to forget the other side of the coin. “Liberal” whites who view themselves and people of color as equals, speak out against mass incarceration of young Black men, and deplore neo-Nazis. People who genuinely want equality — as long as it stays within their comfort zone. Folks with so much empathy for people of other races that it camouflages their tacit sense of superiority, even from themselves. This kind of racism tends to be subtle and difficult to define, and it makes many people uncomfortable. That isn’t me…is it?

This is the subject tackled by Jordan Peele’s Get Out. In the opening scene, a young Black man finds himself in the wrong side of town: a middle-class white suburb. This darkly comic, clever bit of satire culminates in a disturbing and baffling moment. What the f**k just happened there?


Then we move on with our story. Chris (Daniel Kaluuya) agrees to accompany his girlfriend, Rose (Allison Williams), on a trip to her parents’ house. Since he’s Rose’s first Black boyfriend, Chris has some trepidation about meeting them. But she assures him, “They’re not like that.”

And sure enough, Rose’s parents, Dean and Missy Armitage (Bradley Whitford and Catherine Keener), are lovely people who bend over backwards to make Chris feel welcome. Maybe they try a little bit too hard — to the point where the tension is palpable. But it’s all good. The Armitages are kind, liberal-minded people. Some of their best friends are Black. Well, maybe not friends, per se…people who work for them. But that’s fine, they treat the help just like family.

But never mind. Despite the awkwardness, which Chris handles with good-humored acceptance — and despite Rose’s brother, who’s clearly a few cards short of a full deck (what the hell is wrong with that guy?) — things go smoothly enough. But Dean and Missy give off an increasingly creepy vibe.

Then the Armitages host a gathering, a group of affluent friends who (with one exception) are all white. And all delighted to meet Rose’s Black boyfriend, in a way that kind of makes you want to clench your teeth. And there’s something a bit off about this group. Like they’re halfway between normal folks you might meet at a family reunion and Minnie and Roman’s coven from Rosemary’s baby. At that moment, all of us — including white viewers like me — know what it’s like to feel out of place, and intensely uncomfortable — in a gathering of nice white folks.

Film Title: Get Out

Then there are the Armitages’ Black employees: including Georgina (Betty Gabriel) and Walter (Marcus Henderson). Why do they give off a Stepford wives vibe?

Get Out is a difficult movie to define. Despite several funny scenes (Rod [LilRel Howery] and his coworkers provide comic relief), it’s not a comedy. And despite the film’s effectively creepy vibe, it isn’t exactly what you’d expect from a horror movie. It’s also a satire, of course — the brilliant blogger at Dell on Movies explained the subtext more clearly and eloquently than I could, and his comments have lingered with me for several days, giving me food for thought.

Somehow these disparate elements — occasional humor, unconventional horror, and satire — blend seamlessly into a solidly entertaining film that kept me guessing. Usually I find mystery and horror somewhat predictable, but this film’s insane climax surprised me in the best possible way. The climax is wildly over the top, yet it’s been properly foreshadowed through details revealed in the story and the tone of the film.

Despite an ending that felt a bit too abrupt (explained by Peele in his commentary on the alternate ending), this was one of the best cinematic experiences I’ve had in a while. It’s unlike anything I’ve ever seen, and it’s entertaining yet, at the same time, its underlying meaning carries enough weight that it’s continued to grow upon reflection.


13 thoughts on “Get Out (2017)

  1. Yes! I’m stoked that you enjoyed this film as much as I did (if not more so), and found myself nodding along with this entire review.

    The mixture of styles works in the films favor, as you simply couldn’t relax. Like being the odd man out in a crowd (uh, professionally speaking, I tend to find myself smiling through the pain of being in a room full of strange, 12 y/o kids), we’re never allowed to get fully comfortable with the conventions of any genre. Too scary to be a comedy, too thought-provoking to be a slasher, Peele’s flick is simply, as you’ve put it, “one of the best cinematic experiences I’ve had in awhile.”

    Oh, and NOBODY knows what the Hell is wrong with That Guy (the brother).

    Great review!

    Liked by 1 person

  2. Yes, it definitely taps into that uncomfortable feeling we all get when in a crowd not our own. That the Armitages try “too hard” is also a big key to what’s going on. The genre hopping keeps us off balance as viewers and works so well, here. Thanks for the shout out…and extra thanks for dropping the ‘B’ word on me. You’ve made my week!

    Liked by 1 person

    1. Thanks for the kind words. I don’t drop “the B word” lightly. ๐Ÿ™‚ I am a huge fan of your intelligent, thoughtful writing.

      If I found myself in a crowd like this one, I would definitely be aware that it was not *my* crowd, albeit for somewhat different reasons. Racial and socioeconomic differences are intertwined, but not the same. And — among other things — I appreciated this movie’s ability to pull me outside my own experiences, as a white person.

      That is one of the things good filmmaking and literature should do, take us outside the realm of our own experiences and let us live in another person’s skin for a while.

      I am eager to see what Peele does in the future.


      1. Yes! Great filmmaking and literature should absolutely take us outside the realm of our own experiences. Works that truly earn our empathy are the ones that stick with us. Peele has done that with this movie. I’m also looking forward to whatever he has cooked up for us in the future.

        Liked by 1 person

  3. Great review! I’m glad you enjoyed this too. It’s one of my favorites of the year, and I’m just so happy for Peele. I watched Key and Peele and just love those guys.

    Liked by 1 person

  4. It’s so smartly written and it’s working on different levels. It keeps us off kilter so we are feeling just as uncomfortable as he is. It’s really great piece of work and social commentary while still managing to be a fun, enjoyable movie.

    Liked by 1 person

  5. I appreciated the movie and the acting but found it to be a bit overhyped. The resolution and the intrigue, once revealed is actually not original at all. But it was a very well done and creepy movie and hopefully the lead actor – who was even better on Black Mirror – will have a great career

    Liked by 1 person

    1. Yeah, I’ve seen something like this premise before, but it still surprised me. ๐Ÿ™‚ I’m glad you mentioned Kaluuya’s role on Black Mirror. He was amazing in that role.


  6. Great review! Interesting to hear that Peele comments on the ending in his commentary. I’ll have to give that a listen because I agree, in the final film, everything begins to drop a bit too rapidly. But still, Peele is an eloquent speaker and I’m sure his commentary is worthwhile.

    Liked by 1 person

    1. Thank you, Alex! Essentially
      Peele talks about how he originally intended for the story to end. Chris was to be arrested, convicted, and imprisoned for the murder of his girlfriend. (Because, seriously, who was going to believe the real story?) I’m paraphrasing and interpreting what I heard, in my own words, here: Peele was hitting aspects of racism in the US which weren’t being talked about at that time. Many people thought racism was in the past, despite issues like mass incarceration of black men staring us in the face. In the past few years, as the film was being made, we saw “the Trump effect,” racism coming out of the closet, and white people being “woke,” so he decided the ending he’d originally planned wouldn’t have the same effect. Definitely worth listening to. ๐Ÿ™‚


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