This one I recommend.

Imaginative yet accurate; hard to predict

Jordan Peele‘s Get Out, released at long last in Sweden, is a necessary addition to the library of horror movies; a satirical riot which is both timely and original (big gasp). Some will swear off watching it out of the fear that it portrays white people as the villains to the heroic African-American star and is thus complicit in the totally real “white genocide” conspiracy, even if a smarter interpretation could be that those who don’t want to see Get Out are worried it will hit too close to home. No matter. As it turns out, this film is a lot more well-made and entertaining than your average Buzzfeed or MTV screed.

‘Under the Skin’ took on a whole new meaning.

Get Out is a confident achievement in the mixing of the genres that goes to a place where big-budget horror films have yet to go and rips several participants of human society the ‘new one’ they deserve. It boasts a rich cast of newer faces who nevertheless do a resplendent job, wholesome locations turned to nightmare fuel in ways that would’ve pleased John Carpenter, and camera work and music that makes it all the more investing. If you choose to pan this film because its bullseye is located at the wrong end of politics in your opinion, you’re probably doing movies wrong.

We mainly follow Chris Washington (Daniel Kaluuya of Black Mirror), a man of the darker pigmentation, who is invited to stay with his white girlfriend, Rose (Allison Williams) at the upper-class home of her folks, Dean and Missy Armitage (Bradley Whitford and Catherine Keener), a neurosurgeon and a hypnosis therapist respectively. Chris’ first concern is that the parents do not seem to know that their daughter’s boyfriend is a black man, but he is assured that he is simply being paranoid; that they are most certainly not a racist couple. On they way there, they have a wildlife-related traffic accident and Chris is asked by an inspector to show his ID even though he was not driving at the time of the incident. Let’s just say that this non-messy but all too familiar event is only the beginning, and as the two young lovers reach their destination, things start out pleasantly but grow escalatingly uneasy.

In and around the home of the Armitage family, Chris also runs into such mysterious characters as Rose’s disturbed/disturbing brother Jeremy (Caleb Landry Jones), as well as a black gardener and black housemaid, whose seemingly unnatural behavior is also seen in other black individuals in the area – one of them, a truly strange garden party guest named Logan King (Keith Stanfield), Chris even feels as if he’s seen before. Stephen Root also appears, as an enigmatic and blind art dealer who is fully aware of the irony of his condition. To give away too many more details (not unlike, say, the trailer), would be to give away a wild latter half that keeps the surprises coming, so I shan’t.


Even at its most “out there” and exaggerated moments, you still sense that Get Out is based on very real fears rooted in very real problems, all of it amplified by how spot-on the performances are and how “straight-out-of-real-life” most of the characters feel (the rich and elderly friends of the Armitage couple, who fancy Bingo almost as much as expensive cheese, provide some of the bigger chortles in the film, as does Chris’ best friend played by Lil Rel Howery). At times, it is goofy in ways I believe it did not intend and as fresh as it is, it just cannot help itself when it comes to scare chords and “gotcha” moments, as so few horror movies can. But hey, let’s not dwell on such nitpicks. We could have had another Bye Bye Man.

I feel like the film can best be compared to the writing of Aaron McGruder, in that it succeeds as an unmerciful commentary on prevalent racial issues while still incorporating borderline supernatural elements and unthinkable images. If Uncle Ruckus was in this movie, my bet is he would side with its antagonists.

But the movie Jordan Peele wanted to make, references and inspirations notwithstanding, was one that he had not seen before; at least that’s what I’ve gathered from assorted interview quotes. In many ways, he kept his promise, giving us imagery that is both new and unsettling, telling a story I cannot recall has ever been told to me in this manner, and making new, dead-on jokes out of such old and timeless material as “white people be scary”.

Releasing horror movies in the month of February (or January if you count its festival screenings, which is typically an even worse month) tends to be a surefire way to make sure your work gets washed away almost instantly. Luckily, Get Out seems to have garnered the following it deserves and reviews that do it justice. I know I will be playing this one during future movie nights with my uni mates, my newer cinephile friends, or the “Kvicksund gang”.

And if you’re really afraid that you could never enjoy such a delectable blend of laughs and nightmares out of the risk that its satire even slightly makes fun of you, sit in tonight and watch something on Netflix. I’ve heard that new Bill Nye show is really good.

4/5 whatever