Turn off the Lights

Get Out Review

"Sometimes the scariest place to be is on the outside."

Anyone who sticks out like a sore thumb in a social setting understands this feeling. Both on the level of general social anxiety that one might experience at the notion of meeting a whole host of new people and also on the level of being the only one who appears different among those people who are total strangers. The feelings that Jordan Peele’s directorial debut film addresses may start out from a place of social discomfort as a basic entry point, and those feelings are authentic, but what we end up experiencing more deeply is how the social discomfort of being the only person who is somehow obviously different can seem like a target for more than just the genuine interest of those who wish to understand what it’s like to live in your shoes. It can seem like social discomfort to the point to where you must do whatever you must to survive the gathering. There is a bullseye on your back and you can’t stop moving because you are much easier to hit if you’re stationary.

The basic premise for Get Out is straightforward enough. Chris (an excellent Daniel Kaaluya), and Rose (an equally stellar Allison Williams) are an interracial couple who are leaving the city for a weekend getaway to visit Rose’s parents for the first time as a couple. Rose’s parents don’t know that Chris is a black man, which arouses some concern for Chris, but Rose assures him that her parents aren’t racists and that they would welcome him with open arms. We know the fact that Chris is a black man from the city and Rose a white woman from privilege is going to play some role in the proceedings here and on the surface the film plays to the expected ways that race factors in, but it is actually more clever than this as it plays on and examines race in ways that are also completely unexpected. Think of the film Guess Who’s Coming to Dinner. In a few ways, Get Out is a lot like that. Until it isn’t anymore.

Meet the Author

Follow Us